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SIX  SHORT  PLAYS 


A  FAMILY  MAN 


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A  FAMILY  MAN 

IN  THREE  ACTS 


BY 
JOHN  GALSWORTHY 


NEW  YORK 

CHARLES  SCRIBNER'S  SONS 

1992 


COPYMGHT,  1922,  BY 

CHARLES  SCRIBNER'S  SONS 


Printed  ia  the  United  States  of  America 


College 
Library 

?R 

CAST  OF  ORIGINAL  PRODUCTION      ^  .  „^ 

At  the  Comedt  Theatre,  London, 
On  May  1921 

John  Buildee       ....  Norman  M'Kinnel 

JuuA Mary  Barton 

Athene Sibell  Archdale 

Maud Agatha  Kentish 

Ralph  Builder Arthur  Burne 

Gut  HERRrNGHAME        ....  Francis  Lister 

Annie Olive  Walter 

Camille       .         .         .         .         .         .         •      AuriolLee 

Topping D.  A.  Garke  Smith 

The  Mayor Laurence  Hanray 

Habris EricLugg 

Francis  Chantret John  Howell 

Moon  .         .         .         .         •         •         •         Eugene  Leahy 

Martin Julian  D'Albie 

A  Journalist Reginald  Bach 


1053288 


CHARACTERS 


John  Buildeb  . 

Julia 

Athene     . 

Maud 

Ralph  Builder 

Gut  Herringhame 

Annie 

Cahille    . 

Topping 

The  Mayor 

Harris 

Francis  Chantret 

Moon 

Martin 

A  Journalist    . 


Of  the  firm  of  Builder  &  Builder 

His  Wife 

His  elder  Daughter 

His  younger  Daughter 

His  Brother,  and  Partner 

A  Flying  Man 

A  Young  Person  in  Blue 

Mrs.  Builder's  French  Maid 

Builder's  Manservant 

Of  Breconridge 

His  Secretary 

J.P. 

A  Constable 

A  Police  Sergeant 

From  The  Comet 


The  Figure  of  a  Poacher 

The  Voices  and  Faces  or  Small  Bots 


The  action  passes  in  the  tovm  of  Breconridge,  in 
the  Midlands. 

ACT  I. 

SCENE  I.  Builder's  Study.    After  breakfast. 
SCENE  II.  A  Studio. 

ACT  II.  Builder's  Study.    Lunch  time. 

ACT  III. 

SCENE  I.  The  Mayor's  Study.    10  a.m.  the  following 

day. 
SCENE  II.  Builder's  Study.     The  same.    Noon. 
SCENE  III.  Builder's  Study.    The  sam^.    Evening. 


ACT  I 


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ACT  I 

SCENE  I 

The  study  of  John  Builder  in  the  provincial  totm  of 
Breconridge.  A  panelled  room  wherein  nothing 
is  ever  studied,  except  perhaps  Builder's  face  in 
the  mirror  over  the  fireplace.  It  is,  however,  com- 
fortable, and  has  large  leather  chairs  and  a  writing 
table  in  the  centre,  on  which  is  a  typewriter,  and 
many  papers.  At  the  back  is  a  large  vnndow  with 
French  outside  shutters,  overlooking  the  street,  for 
the  house  is  an  old  one,  built  in  an  age  when  the 
homes  of  doctors,  lawyers  and  so  forth  were  part  of 
a  provincial  tovon,  and  not  yet  subxirban.  There 
are  two  or  three  fine  old  prints  on  the  walls.  Right 
and  Left;  and  a  fine  old  fireplace.  Left,  with  a  fender 
on  tchich  one  can  sit.  A  door.  Left  back,  leads  into 
the  dining-room,  and  a  door.  Right  forward,  into 
the  hall. 

Josh  Builder  is  sitting  in  his  after-breakfast  chair 
before  the  fire  with  The  Times  in  his  hands.  He 
has  breakfasted  well,  and  is  in  that  condition  of 
first-pipe  serenity  in  which  the  affairs  of  the  nation 
seem  almost  bearable.  He  is  a  tallish,  square,  per- 
sonable man  of  forty-seven,  with  a  well-coloured, 
jowly,  fuliish  face,  marked  under  the  eyes,  which 
S 


4  A  FAMILY  MAN  acti 

have  very  small  pupils  and  a  good  deal  of  light  in 
them.  His  bearing  ha^  force  and  importance,  as  of  a 
man  accitstomed  to  rising  and  ovmerships,  sure  in 
his  opinions,  and  not  lacking  in  geniality  when 
things  go  his  way.  Essentially  a  Midlander.  His 
vdfe,  a  woman  of  forty-one,  of  ivory  tint,  with  a  thin, 
trim  figure  and  a  face  so  strangely  composed  as  to 
be  almost  like  a  mask  (esserdiaUy  from  Jersey)  is 
putting  a  nib  into  a  pen-holder,  and  filling  an  ink- 
pot at  the  writing-table. 
As  the  curtain  rises  Camili^  enters  with  a  rather  broken- 
down  cardboard  box  containing  flowers.  She  is  a 
young  woman  with  a  good  figure,  a  pale  face,  the 
warm  brown  eyes  and  complete  poise  of  a  French- 
tDoman.    She  takes  the  box  to  Mbs.  Builder. 

Mrs.  Builder.  The  blue  vase,  please,  Camille. 

Camille  fetches  a  vase.    Mrs.  Builder  puts 

the  flowers  into  the  vase.     Camille  gathers 

up  the  dSbris  ;  and  with  a  glance  at  Builder 

goes  out. 

Builder.  Glorious   October!    I  ought   to  have  a 

damned  good  day's  shooting  with  Chantrey  to-morrow. 

Mrs.  Builder.  [Arranging  the  flowers]  Aren't  you 

going  to  the  oflBce  this  morning? 

Builder.  Well,  no,  I  was  going  to  take  a  couple 
of  days  off.  If  you  feel  at  the  top  of  your  form,  take 
a  rest — then  you  go  on  feeling  at  the  top.  [He  looks 
at  her,  as  if  calctdating]  What  do  you  say  to  looking 
up  Athene? 


sc.i  A  FAMILY  MAN  5 

Mbs.  Builder.  [Palpably  astonished]  Athene?  But 
you  said  you'd  done  with  her? 

BuiLDEH.  [Smiiing]  Six  weeks  ago;  but,  dash  it, 
one  can't  have  done  with  one's  own  daughter.  That's 
the  weakness  of  an  Englishman;  he  can't  keep  up  his 
resentments.  In  a  town  like  this  it  doesn't  do  to  have 
her  living  by  herself.  One  of  these  days  it'll  get  out 
we've  had  a  row.    That  wouldn't  do  me  any  good. 

Mrs.  Builder.  I  see. 

Builder.  Besides,  I  miss  her.  Maud's  so  self- 
absorbed.  It  makes  a  big  hole  in  the  family,  Julia. 
You've  got  her  address,  haven't  you  ? 

Mrs.  Builder.  Yes.  [Very  still]  But  do  you  think 
it's  dignified,  John? 

Builder.  [Genially]  Oh,  hang  dignity!  I  rather 
pride  myself  on  knowing  when  to  stand  on  my  dignity 
and  when  to  sit  on  it.  If  she's  still  crazy  about  Art, 
she  can  live  at  home,  and  go  out  to  study. 

Mrs.  Builder.  Her  craze  was  for  liberty. 

Builder.  A  few  weeks'  discomfort  soon  cures  that. 
She  can't  live  on  her  pittance.  She'll  have  found 
that  out  by  now.  Get  your  things  on  and  come  with 
me  at  twelve  o'clock. 

Mrs.  Builder.  I  think  you'll  regret  it.  She'll 
refuse. 

Builder.  Not  if  I'm  nice  to  her.  A  child  could 
play  with  me  to-day.    Shall  I  tell  you  a  secret,  Julia  ? 

Mrs.  Builder.  It  would  be  pleasant  for  a  change. 

Builder.  The  Mayor's  coming  round  at  eleven, 
and  I  know  perfectly  well  what  he's  coming  for. 


6  A  FAMILY  MAN  acti 

Mrs.  Builder.  Well?  ^ 

Builder.  I'm   to   be   nominated   for  Mayor   next 

month.    Harris  tipped  me  the  wink  at  the  last  Council 

meeting.     Not  so   bad  at  forty-seven — h'm.?     I  can 

make  a  thundering  good  Mayor.     I  can  do  things  for 

this  town  that  nobody  else  can. 

Mrs.  Builder.    Now  I  imderstand  about  Athene. 

Builder  [Good-humouredly]  Well,  it's   partly   that. 

But  [more  seriously]  it's  more  the  feeling  I  get  that 

I'm   not  doing   my   duty   by   her.     Goodness  knows 

whom  she  may  be  picking  up  with!    Artists  are  a 

loose  lot.    And  young  people  in  these  days  are  the 

limit.     I  quite  believe  in  moving  with  the  times,  but 

one's  either  born  a  Conservative,  or  one  isn't.    So 

you  be  ready  at  twelve,  see.    By  the  way,  that  French 

maid  of  yours,  Julia 

Mrs.  Builder,     What  about  her? 
Builder.  Is  she — er — is  she  all  right?    We  don't 
want  any  trouble  with  Topping. 
Mrs.  Builder.  There  will  be  none  with — Topping. 

[She  opens  the  door  Left. 
Builder.  I  don't  know;  she  strikes  me  as — very 
French. 

[Mrs.  Builder  smiles  and  passes  out. 
Builder  fills  his  second  pipe.  He  is  just  tak- 
ing up  the  paper  again  when  the  door  from 
the  hall  is  opened,  and  the  manservant 
Topping,  dried,  dark,  sub-humorous,  in  a 
black  cut-away,  announces: 
Topping.  The  Mayor,  sir,  and  Mr.  Harris ! 


sc.i  A  FAMILY  MAN  7 

The  Mi  yob  of  Breconridge  enters.  He  is  dean- 
shaven,  red-Jacedy  light-eyed,  aboui  sixty, 
skrevd,  poll-parroty,  naturally  jovial,  dressed 
with  the  indefinable  torongness  of  a  burgher; 
he  is  followed  by  his  Secretary  Harbis,  a 
man  all  eyes  and  cleverness. 

[Topping  retires. 
BmiiDER.  [Rising]  Hallo,  Mayor !    What  brings  you 
so  early  ?    Glad  to  see  you.     Morning,  Harris ! 
Mayor.  Morning,  Builder,  morning. 
Harris.  Good-morning,  sir. 
Builder.  Sit  down — sit  down !    Have  a  cigar ! 

The  Mayor  takes  a  cigar,  Harris  a  cigarette 
from  his  own  case. 
Builder.  Well,  Mayor,  what's  gone  wrong  with  the 
works  ? 

[He  and  Harris  exchange  a  look. 
Mayor.  [With   his  first   puff\  After   you   left   the 
Council  the  other  day.  Builder,  we  came  to  a  decision. 
Builder.  Deuce  you  did!    Shall  I  agree  with  it? 
Mayor.  We  shall  see.    We  want  to  nominate  you 
for  Mayor.    You  willin'  to  stand  ? 
Builder.  [Stolid]  That  requires  consideration. 
Mayor.  The    only    alternative    is    Chantrey;    but 
he's  a  light  weight,  and  rather  too  much  County. 
What's  your  objection.? 

Builder.  It's  a  bit  unexpected.  Mayor.  [Looks  at 
Harris]  Am  I  the  right  man?  Following  you,  you 
know.  I'm  shooting  with  Chantrey  to-morrow.  What 
does  he  feel  about  it? 


8  A  FAMILY  MAN  acti 

Mayor.  What  do  you  say,  'Arris  ? 

Harris.  Mr.  Chantrey's  a  public  school  and  Uni- 
versity man,  sir;  he's  not  what  I  call  ambitious. 

Builder.  Nor  am  I,  Harris. 

Harris.  No,  sir;  of  course  you've  a  high  sense  of 
duty.    Mr.  Chantrey's  rather  dilettante. 

Mayor.  We  want  a  solid  man. 

Builder.  I'm  very  busy,  you  know.  Mayor. 

Mayor.  But  you've  got  all  the  qualifications — big 
business,  family  man,  live  in  the  town,  church-goer, 
experience  on  tlie  Council  and  the  Bench.  Better 
say  "yes,"  Builder. 

Builder.  It's  a  lot  of  extra  work.  I  don't  take 
things  up  lightly. 

Mayor.  Dangerous  times,  these.  Authority  ques- 
tioned all  over  the  place.  We  want  a  man  that  feels 
his  responsibilities,  and  we  think  we've  got  him  in  you. 

Builder.  Very  good  of  you.  Mayor.  I  don't  know, 
I'm  sure.     I  must  think  of  the  good  of  the  town. 

Harris.  I  shouldn't  worry  about  that,  sir. 

Mayor.  The  name  John  Builder  carries  weight. 
You're  looked  up  to  as  a  man  who  can  manage  his  own 
aflFairs.    Madam  and  the  young  ladies  well .'' 

Builder.  First-rate. 

Mayor.  [Rises]  That's  right.  Well,  if  you'd  like 
to  talk  it  over  with  Chantrey  to-morrow.  With  all 
this  extremism,  we  want  a  man  of  principle  and  com- 
mon sense. 

Harris.  We  want  a  man  that'll  grasp  the  nettle, 
sir — and  that's  you. 


SCI  A  FAMILY  MAN  9 

Builder.  H'm !    I've  got  a  temper,  you  know. 
Mayor.  [Chuckling]  We    do— we    do!    You'll    say 
"yes,"  I  see.    No  false  modesty !    Come  along,  'Arris, 
we  must  go. 

Builder.  Well,  Mayor,  I'll  think  it  over,  and  let 
you  have  an  answer.  You  know  my  faults,  and  you 
know  my  qualities,  such  as  they  are.  I'm  just  a  plain 
Englishman. 

Mator.  We  don't  want  anything  better  than  that. 
I  always  say  the  great  point  about  an  Englishman  is 
that  he's  got  bottom;  you  may  knock  him  off  his  pins, 
but  you  find  him  on  'em  again  before  you  can  say 
"Jack  Robinson."  He  may  have  his  moments  of 
aberration,  but  he's  a  sticker.  Morning,  Builder, 
morning !    Hope  you'll  say  "yes." 

He  shakes  hands  and  goes  out,  foUcwed  hy 

Harris. 
When  the  door  is  closed  Builder  stands  a 
rruyment  quite  still  with  a  gratified  smile  on 
his  face ;  then  turns  and  scrutinises  himself 
in  the  glass  over  the  hearth.     While  he  is 
doing  so  the  door  from  the  dining-room  is 
opened    quietly    and    Camille    comes    in. 
Builder,  suddenly  seeing  her  reflected  in 
the  mirror,  turns. 
Builder.  What  is  it,  Camille? 
Camille.  Madame  send  me  for  a  letter  she  say  you 
have,  Monsieur,  from  the  dyer  and  cleaner,  with  a  bill. 
Builder.  [Feeling  in  his  pocketsX  Yea — ^no.    It's  on 
the  table. 


10  A  FAMILY  MAN  acti 

[Camille  goes  to  the  vyriting-table  and  looks. 
That  blue  thing. 

Camille.  {Taking  it  «p]  Nou,  Monsieur,  this  is  from 
the  gas. 

Builder.  Oh!    Ah! 

He  moves  up  to  the  table  and  turns  over  papers. 
Camille  stands  motiojiless  close  by  wiih  her 
eyes  fixed  on  him. 
Here  it  is !  [He  looks  up,  sees  her  looking  at  him,  drops 
his  own  gaze,  and  liands  her  the  letter.  Their  hands 
touch.  Putting  his  hands  in  his  pockets]  What  made 
you  come  to  England  ? 

Camille.  [Demure]  It  is  better  pay,  Monsieur,  and 
[With  a  smile]  the  English  are  so  amiable. 

Builder.  Deuce  they  are!    They  haven't  got  that 
reputation. 

Camille.  Oh !    I  admire  Englishmen.    They  are  so 
strong  and  kind. 

Builder.  [Bluffly  flattered]  H'm !    We've  no  man- 
ners. 

Camille.  The  Frenchman  is  more  polite,  but  not 
in  the  'eart. 

Builder.  Yes.     I  suppKjse  we're  pretty  sound  at 
heart. 

Camille.  And  the  Englishman  have  his  life  in  the 
family — the  Frenchman  have  his  life  outside. 

Builder.  [With  discomfort]  H'm ! 

Camille.  [With  a  look]  Too  mooch  in  the  family — 
like  a  rabbit  in  a  'utch. 

Builder.  Oh !    So  that's  your  view  of  us ! 

[His  eyes  rest  on  her,  attracted  but  resentful. 


^.i  A  FAMILY  MAN  11 

Camille.  Pardon,  Monsieur,  my  tongue  run  away 
with  me. 

Builder.  [Half  conscious  of  being  led  on]  Are  you 
from  Paris  ? 

Camiixe.  [Clasping  her  hands]  Yes,  What  a  town 
for  pleasure — Paris ! 

Builder.  I  suppose  so.    Loose  place,  Paris. 

Camille.  Loose  ?    What  is  that.  Monsieur  ? 

Builder.  The  opposite  of  strict. 

Camille.  Strict!  Oh!  certainly  we  like  life,  we 
other  French.  It  is  not  like  England.  I  take  this  to 
Madame,  Monsieur.     [She  turns  as  if  to  go]  Excuse  me. 

Builder.  I  thought  you  Frenchwomen  all  married 
young. 

Camille.  I  'ave  been  married;  my  'usband  did  die 
— en  Afrique, 

Builder.  You  wear  no  ring. 

Camille.  [Smiling]  I  prefare  to  be  mademoiselle, 
Monsieur.  ' 

Builder.  [DvMou^ly]  Well,  it's  all  the  same  to  us. 
[He  takes  a  letter  upfront  the  table]  You  might  take  this 
to  Mrs.  Builder  too.  [Again  their  fingers  touch,  and 
there  is  a  suspicion  of  encounter  between  their  eyes.] 

[Camille  goes  out. 

Builder.  [Turning  to  his  chair]  Don't  know  about 
that  woman — she's  a  tantalizer. 

He  compresses  his  lips,  and  is  settling  back 
into  his  chair,  when  the  door  from  the  haU  is 
opened  and  his  daughter  Maud  comes  in; 
a  pretty  girl,  rather  pale,  tvith  fine  eyes. 
Though  her  face  tuis  a  determined  cast  her 


12  A  FAMILY  MAN  acti 

manner  at  this  moment  is  by  no  means  de- 
cisive.   She  has  a  letter  in  her  hand,  and  ad- 
vances rather  as  if  she  were   stalking  her 
father,  who,  after  a  "Hallo,  Maud!''  has 
begun  to  read  his  paper. 
Mattd.  [Getting  as  far  as  the  tcAle]  Father. 
Builder.  [Not  lowering  the  paper]  Well?    I  know 
that  tone.     What  do  you  want — money  ? 
Maud.  I   always   want   money,   of   course;   but — 

but 

Builder.  [Pulling   out   a   note — abstractedly]  Here's 
five  pounds  for  you. 

Maud,  advancing,  takes  it,  then  seem^  to  find 
what  she  has  come  for  more  ot>  her  chest 
than  ever. 
Builder.  [Unconscious]  Will  you  take  a  letter  for 
me? 

Maud  sits  down  Left  of  table  and  prepares  to 
take  down  the  letter. 
[Dictating]  "Dear  Mr.  Mayor, — Referring  to  your  call 
this  morning,  I  have — er — given  the  matter  very  care- 
ful consideration,  and  though  somewhat  reluctant " 

Maud.  Are  you  really  reluctant,  father? 
Builder.  Go  on — "To  assume  greater  responsibili- 
ties, I  feel  it  my  duty  to  come  forward  in  accordance 
with  your  wish.  The — er — honour  is  one  of  which 
I  hardly  feel  myself  worthy,  but  you  may  rest  as- 
sured  " 

Maud.  Worthy.    But  you  do,  you  know. 
Builder.  Look  here !    Are  you  trying  to  get  a  rise 


8C.I  A  FAMILY  MAN  IS 

out  of  me? — because  you  won't  succeed  this  morn- 
ing. 
M.\UD.  I  thought  you  were  trying  to  get  one  out  of 

me. 

BuiLDEK.  Well,  how  would  you  express  it .' 

Maud.  "I  know  I'm  the  best  man  for  the  place, 
and  so  do  you " 

BuTLDEH.  The  disrespect  of  you  young  people  is 
somethmg  extraordinary.  And  that  reminds  me: 
where  do  you  go  every  evening  now  after  tea  ? 

Maud.  I — I  don't  know. 

Builder.  Come  now,  that  won't  do— you're  never 
in  the  house  from  six  to  seven. 

Maud.  Well !    It  has  to  do  with  my  education. 

Builder.  Why,  you  finished  that  two  years  ago ! 

Maud.  Well,  call  it  a  hobby,  if  you  like,  then, 
father. 

She  takes  up  the  letter  she  brought  in  and  seems 
on  the  point  of  broaching  it. 

Builder.  Hobby.'*    Well,  what  is  it? 

Maud.  I  don't  want  to  irritate  you,  father. 

Builder.  You  can't  irritate  me  more  than  by  hav- 
ing secrets.  See  what  that  led  to  in  your  sister's  case. 
And,  by  the  way,  I'm  going  to  put  an  end  to  that  this 
morning.  You'll  be  glad  to  have  her  back,  won't 
you? 

Maud.  [StarOed]  What! 

Builder.  Your  mother  and  I  are  going  round  to 
Athene  at  twelve  o'clock.  I  shall  make  it  up  with 
her.    She  must  come  back  here. 


14  A  FAMILY  MAN  xcri 

Maud.  [Aghast,  but  hiding  it]  Oh!  It's — it'g  no 
good,  father.    She  won't. 

Builder.  We  shall  see  that.  I've  quite  got  over 
my  tantrum,  and  I  expect  she  has. 

Maud.  [Earnestly]  Father!  I  do  really  assure  you 
she  won't;  it's  only  wasting  your  time,  and  makmg 
you  eat  humble  pie. 

Builder.  Well,  I  can  eat  a  good  deal  this  morning. 
It's  all  nonsense !    A  family's  a  family. 

Maud.  [More  and  more  disturbed,  but  hiding  it] 
Father,  if  I  were  you,  I  wouldn't — really !  It's  not — 
dignified. 

Builder.  You  can  leave  me  to  judge  of  that.  It's 
not  dignified  for  the  Mayor  of  this  town  to  have  an 
unmarried  daughter  as  young  as  Athene  living  by 
herself  away  from  home.  This  idea  that  she's  on  a 
visit  won't  wash  any  longer.  Now  finish  that  letter 
— "worthy,  but  you  may  rest  assured  that  I  shall 
do  my  best  to  sustain  the — er — dignity  of  the  office.'* 

[Maud  types  desperately. 
Got  that?  "And — er — preserve  the  tradition  so 
worthily "    No — "so  staunchly" — er — er 

Maud.  Upheld. 

Builder.  Ah!  " — upheld  by  yourself. — ^Faithfully 
yours." 

Maud.  [Finishing]  Father,  you  thought  Athene 
went  off  in  a  huff.  It  wasn't  that  a  bit.  She  always 
meant  to  go.  She  just  got  you  into  a  rage  to  make  it 
easier.    She  hated  living  at  home. 

Bum)ER.  Nonsense!    Why  on  earth  should  she.'' 


k;.i  a  family  man  15 

Maud.  Well,  she  did!    And  so  do [CJieeking 

herself]  And  so  you  soe  it'll  only  make  you  ridiculous 
to  go. 

BuiLDEB.  [Rise»\  Now  what's  behind  this,  Maud? 

Maud.  Behind Oh !  nothing ! 

BuiLDEK.  The  fact  is,  you  girls  have  been  spoiled, 
and  you  enjoy  twisting  my  tail;  but  you  can't  make 
me  roar  this  morning.  I'm  too  pleased  with  things. 
You'll  see,  it'll  be  all  right  with  Athene. 

Maud.  [Very  suddenly]  Father ! 

BuaoEK.  [Grimly  humorous]  Well !  Get  it  oflp  your 
chest.    What's  that  letter  about.' 

Maud.  [Failing  again  and  crumpling  the  letter  behind 
her  back]  Oh !  nothing. 

Builder.  Everything's  nothing  this  morning.  Do 
you  know  what  sort  of  people  Athene  associates  with 
now — I  suppK)se  you  see  her? 

Maud.  Sometimes. 

Builder.  Well? 

Maud.  Nobody  much.  There  isn't  anybody  here 
to  associate  with.  It's  all  hopelessly  behind  the 
times. 

Builder.  Oh!  you  think  so!  That's  the  inflam- 
matory fiction  you  pick  up.  I  tell  you  what,  young 
woman — the  sooner  you  and  yoiu-  sister  get  rid  of  your 
silly  notions  about  not  living  at  home,  and  making 
your  own  way,  the  sooner  you'll  both  get  married 
and  make  it.  Men  don't  like  the  new  spirit  in  wo- 
men— they  may  say  they  do,  but  they  don't. 

Maud.  You  don't,  father,  I  know. 


16  A  FAMILY  MAN  act  i 

Builder.  Well,  I'm  very  ordinary.  If  you  keep 
your  eyes  open,  you'll  soon  see  that. 

Maud.  Men  don't  like  freedom  for  anybody  but 
themselves. 

BmLDER.  That's  not  the  way  to  put  it.  [Tappiyig 
out  his  pipe]  Women  in  your  class  have  never  had  to 
face  realities. 

Maud.  No,  but  we  want  to. 

Builder.  [Good-humouredly]  Well,  I'll  bet  you  what 
you  like,  Athene's  dose  of  reality  will  have  cured  her. 

Maud.  And  I'll  bet  you No,  I  won't ! 

Builder.  You'd  better  not.  Athene  will  come 
home,  and  only  too  glad  to  do  it.  Ring  for  Topping 
and  order  the  car  at  twelve. 

As  he  opens  the  door  to  pass  out,  Maud  starts 
forward,  but  checks  herself. 

Maud.  [Looking  at  her  watch]  Half -past  eleven! 
Good  heavens ! 

She  goes  to  the  bell  and  rings.  Then  goes  back 
to  the  table,  and  writes  an  address  on  a  bit 
of  paper. 

[Topping  enters  Right. 

Topping.  Did  you  ring.  Miss.? 

Maud.  [With  the  paper]  Yes.  Look  here.  Topping ! 
Can  you  manage — on  yoiu:  bicycle — ^no\/  at  once? 
I  want  to  send  a  message  to  Miss  Athene — ^awfully 
important.  It's  just  this:  "Look  out!  Father  is 
coming."  [Holding  ovi  the  paper]  Here's  her  address. 
You  must  get  there  and  away  again  by  twelve.  Father 
and  mother  want  the  car  then  to  go  there.    Order  it  be- 


sc.i  A  FAMILY  MAN  17 

fore  you  go.  It  won't  take  you  twenty  minutes  on  your 
bicycle.  It's  down  by  the  river  near  the  ferry.  But 
you  mustn't  be  seen  by  them  either  going  or  coming. 

Topping.  If  I  should  fall  into  their  hands.  Miss, 
shall  I  eat  the  despatch.'' 

Maud.  Rather!  You're  a  brick,  Topping.  Hurry 
up! 


Topping.  Nothing  more  precise,  Miss  ? 

Maud.  M — m No. 

Topping.  Very  good.  Miss  Maud.  [Conning  the 
address]  "Briary  Studio,  River  Road.  Look  out ! 
Father  is  coming!"  I'll  go  out  the  back  way.  Any 
answer  ? 

Maud.  No. 

[Topping  nods  his  head  and  goes  out. 

Maud.  [To  herself]  Well,  it's  all  I  can  do. 

[She  stands,  considering,  as  the  Curtain /aW«. 


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SCENE  II 

The  Studio,  to  which  are  attached  living  rooms,  miglU 
be  rented  at  eighty  pounds  a  year — some  painting 
and  gear  indeed,  but  an  air  of  life  rather  than  of 
vxyrk.  Things  strewn  about.  Bare  waUs,  a  slop- 
ing skylight,  no  windows;  no  fireplace  visible;  a 
bedroom  door,  stage  Right;  a  kitchen  door,  stage 
Left.  A  door.  Centre  back,  into  the  street.  The 
door  knocker  is  going. 

From  the  kitchen  door.  Left,  comes  the  very  young  per- 
son, Annie,  in  blotting-paper  blue  linen,  vnih  a 
white  Dutch  cap.  She  is  pretty,  her  cheeks  rosy, 
and  her  forehead  puckered.  She  opens  the  street 
door.  Standing  outside  is  Topping.  He  steps  in 
a  pace  or  two. 

Topping.  Miss  Builder  live  here? 
Annie.  Oh !  no,  sir;  Mrs.  Herringhame. 
Topping.  Mrs.    Herringhame?    Oh!    young    lady 
with  dark  hair  and  large  expressive  eyes? 
Annie.  Oh !  yes,  sir. 
Toppinq.  With  an  "A.  B."  on  her  linen? 

[Moves  to  table. 
Annie.  Yes,  sir. 

Topping.  And  "Athene  Builder"  on  her  drawings? 
19 


so  A  FAMILY  MAN  act  i 

Annie.  [Looking  at  one]  Yes,  sir. 
Topping.  Let's    see.    [He    examines    the    dravnng] 
Mrs.  Hemnghame,  you  said? 
Annie.  Oh!  yes,  sir. 
Topping.  Wot  oh ! 
Annie.  Did  you  want  anything,  sir? 
Topping.  Drop  the  "sir,"  my  dear;  I'm  the  Build- 
ers' man.    Mr.  Herringhame  in? 
Annie.  Oh !  no,  sir. 

Topping.  Take   a   message.    I   can't   wait.     From 
Miss  Maud  Builder.     "Lookout!    Father  is  coming." 
Now,   whichever  of   'em  comes   in   first — that's   the 
message,  and  don't  j'ou  forget  it. 
Annie.  Oh !  no,  sir. 
Topping.  So  they're  married  ? 
Annie.  Oh !    I  don't  know,  sir. 
Topping.  I  see.    Well,  it  ain't  known  to  Builder, 
J.P.,  either.    That's  why  there's  a  message.    See? 
Annie.  Oh !  yes,  sir. 

Topping.  Keep  your  head.  I  must  hop  it.  From 
Miss  Maud  Builder.  "Look  out!  Father  is  com- 
ing. 

He  nods,  turns  and  goes,  pulling  the  door  to 
behind  him.    Annie  stands  "haff"  for  a 
moment. 
Annie.  Ah! 

She  goes  across  to  the  bedroom  on  the  Right, 
and  soon  returns  vnth  a  suit  of  pyjamas, 
a  toothbrush,  a  pair  of  slippers  and  a  case 
of  razors,  which  she  puis  on  the  table,  and 


sc.n  A  FAMILY  MAN  21 

disappears  into  the  kitchen.  She  reappears 
tcith  a  bread  pan,  which  she  deposits  in  the 
centre  of  the  room;  then  crosses  again  to 
the  bedroom,  and  once  more  reappears  with 
a  clothes  brush,  two  hair  brushes,  and  a 
Norfolk  jacket.  As  she  stvffs  all  these  into 
the  bread  pan  and  bears  it  back  into  the 
kitchen,  there  is  the  sound  of  a  car  driving 
up  and  stopping.  Annie  reappears  at  the 
kitchen  door  just  as  the  knocker  sounds. 
Annie.  Vexin'  and  provokin'!  [Knocker  again. 
She  opens  the  door]  Oh ! 

[Mr.  and  Mrs.  Builder  enter. 
Builder.  Mr.  and  Mrs.  Builder.    My  daughter  in  ? 
Annie.  [Confounded]  Oh !  sir,  no,  sir. 
Builder.  My  good  girl,   not   "Oh!  sir,   no,  sir." 
Simply:  No,  sir.     See? 
Annie.  Oh !  sir,  yes,  sir. 
Builder.  Where  is  she? 
Annie.  Oh !  sir,  I  don't  know,  sir. 
Builder.  [Fixing  her  as  though  he  suspected  her  of 
banter]  Will  she  be  back  soon? 
Annie.  No,  sir. 
Builder.  How  do  you  know  ? 
Annie.  I  d-don't,  sir. 

Builder.  Then  why  do  you  say  so?    [About  to 
mutter  "She's  an  idiot  I"  he  looks  at  her  blushing  face 
and  panting  figure,  pats  her  on  the  shoulder  and  says] 
Never  mind;  don't  be  nervous. 
Annie.  Oh !  yes,  sir.    Is  that  all,  please,  sir  ? 


28  A  FAMILY  MAN  acti 

Mas.  BuiLHER.  [With  a  aide  look  at  her  husband 
and  a  faint  amile]  Yes;  you  can  go. 

Annie.  Thank  you,  ma'am. 

She  turns  and  hurries  out  into  the  kitchen. 
Left.  Builder  gazes  after  her,  and  Mrs. 
Builder  gazes  at  Builder  loith  her  faint 
smile. 

Builder.  [After  the  girl  is  gone]  Quaint  and  Dutch 
— pretty  little  figure !  [Staring  round\  H'm !  Ex- 
traordinary girls  are!  Fancy  Athene  preferring  this 
to  home.    What? 

Mrs.  Builder.  I  didn't  say  anything. 

Builder.  [Placing  a  chair  for  his  tvife,  and  sitting 
down  himself]  Well,  we  must  wait,  I  suppose.  Con- 
found that  Nixon  legacy !  If  Athene  hadn't  had  that 
potty  little  legacy  left  her,  she  couldn't  have  done 
this.  Well,  I  daresay  it's  all  spent  by  now.  I  made 
a  mistake  to  lose  my  temper  with  her. 

Mrs.  Builder.  Isn't  it  always  a  mistake  to  lose 
one's  temper  ? 

Builder.  That's  very  nice  and  placid;  sort  of  thing 
you  women  who  live  sheltered  lives  can  say.  I  often 
wonder  if  you  women  realise  the  strain  on  a  business 
man. 

Mrs.  Builder.  [In  her  softly  ironical  voice]  It  seems 
a  shame  to  add  the  strain  of  family  life. 

Builder.  You've  always  been  so  passive.  When 
I  want  a  thing,  I've  got  to  have  it. 

Mrs.  Builder.  I've  noticed  that. 

Builder.  [With  a  short  lav^h]  Odd  if  you  hadn't 


sc.n  A  FAMILY  MAN  23 

in  twenty-three  years.  [Tottching  a  canvcu  standing 
against  the  chair  with  his  toe]  Art!  Just  a  pretext. 
We  shall  be  having  Maud  wanting  to  cut  loose  next. 
She's  very  restive.  Still,  I  oughtn't  to  have  had  that 
scene  with  Athene.    I  ought  to  have  put  quiet  pressure. 

[Mrs.  Builder  smiles. 
Builder.  What  are  you  smiling  at .' 

[Mrs.  Builder  shrugs  her  shoulders. 

Look  at  this Cigarettes !    [He  examines  the  brand 

on  the  box]  Strong,  very — and  not  good!  [He  opens 
the  door]  Kitchen!  [He  shuts  it,  crosses,  and  opens 
the  door.  Right]  Bedroom ! 

Mrs.  Builder.  [To  his  disappearing  form]  Do  you 
think  you  ought,  John  ? 

He  has  disappeared,  and  she  ends  with  an 
expressive  movement  of  her  hands,  a  long 
sigh,  and  a  closing  of  her  eyes.    Builder's 
peremptory  voice  is  heard:  "Julia I" 
What  now  ?  [She  follows  into  the  bedroom. 

The  maid  Annie  puts  her  head  out  of  the 
kitchen  door;  she  comes  out  a  step  as  if 
to  fly;  then,   at  Builder's  voice,  shrinks 
back  into  the  kitchen. 
Builder,  reappearing  vnth  a  razor  strop  in 
one  hand  and  a  shaving-brush  in  the  other, 
is  followed  by  Mrs.  Builder. 
Builder.  Explain  these!    My  God!    Where's  that 
girl? 

Mrs.  Builder.  John !    Don't !    [Getting  between  him 
and  the  kitchen  door]  It's  not  dignified. 


24  A  FAMILY  MAN  acti 

Builder.  I  don't  care  a  damn. 
Mrs.   Builder.  John,   you   mustn't.    Athene   has 
the  tiny  beginning  of  a  moustache,  you  know. 

Builder.  What!  I  shall  stay  and  clear  this  up 
if  I  have  to  wait  a  week.    Men  who  let  their  daughters 

!    This  age  is  the  limit. 

He  makes  a  vicious  movement  with  the  strop, 
as  though  laying  it  across  someone's  hack. 
Mrs.  Builder.  She  would  never  stand  that.    Even 
wives  object,  nowadays. 

Builder.  [Grimly\  The  war's  upset  everything. 
Women  are  utterly  out  of  hand.  Why  the  deuce 
doesn't  she  come .'' 

Mrs.  Builder.  Suppose  you  leave  me  here  to  see 
her. 

Builder.  [Ominously]  This  is  my  job. 

Mrs.  Builder.  I  think  it's  more  mine. 

Builder.  Don't  stand   there  opposing   everything 

I  say !    I'll  go  and  have  another  look [He  is 

going  towards  the  bedroom,  when  the  sound  of  a  latchkey 
in  the  outer  door  arrests  him.  He  puts  the  strop  and 
brush  behind  his  back,  and  adds  in  a  low  voice]  Here 
fihe  is! 

Mrs.  Builder  has  approached  him,  and  they 
have  both  turned  towards  the  opening  door. 
Guy  Herringhame  com^s  in.  They  are 
a  little  out  of  his  line  of  sight,  and  he  has 
shut  the  door  before  he  sees  them.  When  he 
does,  his  mouth  falls  open,  and  his  hand 
cm  to  the  knob  of  tJie  door.     He  is  a  comely 


sc.n  A  FAMILY  MAN  25 

young  man  in  Harris  tweeds.  Moreover, 
he  is  smoking.  He  would  speak  if  he  could, 
but  his  surprise  is  too  excessive. 

Builder.  Well,  sir? 

Guy.  [Recovering  a  little]  I  was  about  to  say  the 
same  to  you,  sir. 

Builder.  [Very  red  from  repression]  These  rooms 
are  not  yours,  are  they.' 

Guy.  Nor  yours,  sir? 

Builder.  May  I  ask  if  you  know  whose  they  are? 

Guy.  My  sister's. 

Builder.  Your — you ! 

Mrs.  Builder.  John ! 

Builder.  Will  you  kindly  tell  me  why  your  sister 
signs  her  drawings  by  the  name  of  my  daughter, 
Athene  Builder — ^and  has  a  photograph  of  my  wife 
hanging  there? 

The  Young  Man  looks  at  Mrs.  Builder  and 
wirvces,  hut  recovers  himself. 

Guy.  [Boldly]  As  a  matter  of  fact  this  is  my  sister's 
studio;  she's  in  France — and  has  a  friend  staying  here. 

Builder.  Oh !    And  you  have  a  key  ? 

Guy.  My  sister's. 

Builder.  Does  your  sister  shave? 

Guy.  I — I  don't  think  so. 

Builder.  No.  Then  perhaps  you'll  tell  me  what 
these  mean? 

[He  takes  out  the  strop  and  shaving  stick. 

Guy.  Oh!    Ah!    Those  things? 

Builder.  Yes.    Now  then? 


26  A  FAMILY  MAN  acti 

Gut.  [Addressing  Mrs.  Builder]  Need  we  go  into 
this  in  your  presence,  ma'am?  It  seems  rather  deli- 
cate. 

Builder.  What  explanation  have  you  got? 

Gut.  Well,  you  see 

Builder.  No  lies;  out  with  it! 

Gut.  [With  decision]  I  prefer  to  say  nothing. 

Builder.  What's  your  name? 

Gut.  Guy  Herringhame. 

Builder.  Do  you  live  here  ? 

[Gut  makes  no  sign. 

Mrs.  Builder.  [To  Gut]  I  think  you  had  better  go. 

Builder.  Julia,  will  you  leave  me  to  manage  this? 

Mrs.  Builder.  [To  Gut]  "WTien  do  you  expect  my 
daughter  in  ? 

Gut.  Now — directly. 

Mrs.  Builder.  [Quietly]  Are  you  married  to  her? 

Gut.  Yes,    That  is — no-o;  not  altogether,  I  mean. 

Builder.  What's  that  ?    Say  that  again ! 

Gut.  [Folding  his  arms]  I'm  not  going  to  say  an- 
other word. 

Builder.  I  am. 

Mrs.  Builder.  John — ^please! 

Builder.  Don't  put  your  oar  in!  I've  had  won- 
derful patience  so  far.  [He  puis  his  foot  through  a 
drawing]  Art!  This  is  what  comes  of  it!  Are  you 
an  artist? 

Gut.  No;  a  flying  man.    The  truth  is 

Builder.  I  don't  want  to  hear  you  speak  the  truth. 
I'll  wait  for  my  daughter. 


sen  A  FAMILY  MAN  27 

Gut.  If  you  do,  I  hope  you'll  be  so  very  good  as 
to  be  gentie.    If  you  get  angry  I  might  too,  and  that 
would  be  awfully  ugly. 
BuiLDEB.  Well,  I'm  damned ! 

Guy.  I  quite  understand  that,  sir.    But,  as  a  man 
of  the  world,  I  hope  you'll  take  a  pull  before  she  comes, 
if  you  mean  to  stay. 
Builder.  //  we  mean  to  stay !    That's  good ! 
Gut.  Will  you  have  a  cigarette  ? 

Builder.  I — ^I  can't  express 

Gut.  [Soothingly]  Don't  try,  sir.  [He  jerks  up  his 
chin,  listening]  I  think  that's  her.  [Goes  to  the  door] 
Yes.  Now,  please!  [He  opens  the  door]  Your  father 
and  mother,  Athene. 

Athene  enters.    She  is  flushed  and  graceful. 

Tvxniy-two,  vnth  a  short  upper  lip,  a  straight 

nose,   dark   hair,    and   glomng   eyes.    She 

wears  bright  colours,  and  has  a  slow,  musical 

voice,  vnth  a  slight  lisp. 

Athene.  Oh!    How  are  you,  mother  dear.?    This 

is  rather  a  surprise.    Father  always  keeps  his  word, 

so  I  certainly  didn't  expect  him. 

She  looks  steadfastly  at  Builder,  but  does  not 
approach. 
Builder.  [Controlling  himself  with  an  effort]  Now, 
Athene,  what's  this? 
Athene.  What's  what? 
Builder.  [The  strop  held  out]  Are  you  married  to 

this — this ? 

Athene.  [Quietly]  To  all  intents  and  purposes. 


^  A  FAMILY  MAN  acti 

Builder.  In  law  ? 

Athene.  No. 

Builder.  My  God !    You — ^you ! 

Athene.  Father,  don't  call  names,  please. 

Builder.  Why  aren't  you  married  to  him  ? 

Athene.  Do  you  want  a  lot  of  reasons,  or  the  real 
one  ? 

BuiIjDER.  This  is  maddening!  [Goes  up  stage. 

Athene.  Mother  dear,  will  you  go  into  the  other 
room  with  Guy  ?  [She  points  to  the  door  Right. 

BxnLDER.  Why.? 

Athene.  Because  I  would  rather  she  didn't  hear 
the  reason. 

Guy.  [To  Athene,  sotto  voce]  He's  not  safe. 

Athene.  Oh!  yes;  go  on. 

Guy  follows  Mrs.  Builder,  and  after  hesita- 
tion at  the  door  they  go  out  into  the  bedroom. 

Builder.  Now  then ! 

Athene.  Well,  father,  if  you  want  to  know  the 
real  reason,  it's — you. 

Builder.  What  on  earth  do  you  mean.? 

Athene.  Guy  wants  to  marry  me.    In  fact,  we 

But  I  had  such  a  scunner  of  marriage  from  watching 
you  at  home,  that  I 

Builder.  Don't  be  impudent!  My  patience  is  at 
breaking-point,  I  warn  you. 

Athene.  I'm  perfectly  serious.  Father.  I  tell  you, 
we  meant  to  marry,  but  so  far  I  haven't  been  able 
to  bring  myself  to  it.  You  never  noticed  how  we 
children  have  watched  you. 


sc.n  A  FAMILY  MAN  39 

Builder.  Me? 

Athene.  Yes.  You  and  mother,  and  other  things; 
all  sorts  of  things 

BxjiLDER.  [Taking  out  a  handkerchief  and  toiping 
his  brow]  I  really  think  you're  mad. 

Athene.  I'm  sure  you  must,  dear. 

Builder.  Don't  "dear"  me!  What  have  you 
noticed?  D'you  mean  I'm  not  a  good  husband  and 
father? 

Athene.  Look  at  mother.  I  suppose  you  can't, 
now;  you're  too  used  to  her. 

Builder.  Of  course  I'm  used  to  her.  What  else 
is  marrying  for? 

Athene.  That;  and  the  production  of  such  as  me. 
And  it  isn't  good  enough,  father.  You  shouldn't 
have  set  us  such  a  perfect  example. 

Builder.  You're  talking  the  most  arrant  nonsense 
I  ever  heard.  [He  lifts  his  hands]  I've  a  good  mind 
to  shake  it  out  of  you. 

Athene,  Shall  I  call  Guy  ?  [He  drops  his  hands. 

Confess  that  being  a  good  husband  and  father  has 
tried  you  terribly.    It  has  us,  you  know. 

Builder.  [Talcing  refuse  in  sarcasm]  When  you've 
quite  done  being  funny,  perhaps  you'll  tell  me  why 
you've  behaved  like  a  common  street  flapper. 

Athene.  [Simply]  I  couldn't  bear  to  think  of  Guy 
as  a  family  man.  That's  all — absolutely.  It's  not 
his  fault;  he's  been  awfully  anxious  to  be  one. 

Builder.  You've  disgraced  us,  then;  that's  what 
it  comes  to. 


80  A  FAMILY  MAN  acti 

Athene.  I  don't  want  to  be  unkind,  but  you've 
brought  it  on  yourself. 

Builder.  [Genuinely  distracted]  I  can't  even  get 
a  glimmer  of  what  you  mean.  I've  never  been  any- 
thing but  firm.  Impatient,  perhaps.  I'm  not  an 
angel;  no  ordinary  healthy  man  is.  I've  never  grudged 
you  girls  any  comfort,  or  pleasure. 

Athene.  Except  wills  of  our  own. 

Builder.  What  do  you  want  with  wills  of  your 
own  till  you're  married  ? 

Athene.  You  forget  mother ! 

Builder.  What  about  her? 

Athene.  She's  very  married.  Has  she  a  will  of 
her  own  ? 

Builder.  [Sullenly]  She's  learnt  to  know  when  I'm 
in  the  right. 

Athene.  I  don't  ever  mean  to  learn  to  know  when 
Guy's  in  the  right.  Mother's  forty-one,  and  twenty- 
three  years  of  that  she's  been  your  wife.  It's  a  long 
time,  father.    Don't  you  ever  look  at  her  face.'' 

Builder.  [Troubled  in  a  remote  way]  Rubbish! 

Athene.  I  didn't  want  my  face  to  get  like  that. 

Builder.  With  such  views  about  marriage,  what 
business  had  you  to  go  near  a  man.'*    Come,  now! 

Athene.  Because  I  fell  in  love. 

Builder.  Love  leads  to  marriage — and  to  nothing 
else,  but  the  streets.    What  an  example  to  your  sister ! 

Athene.  You  don't  know  Maud  any  more  than 
you  knew  me.  She's  got  a  will  of  her  own  too,  I  can 
tell  you. 


ec.  n 


A  FAMILY  MAN  31 


BtJiLDEai.  Now,  look  here,  Athene.  It's  always 
be«n  my  way  to  face  accomplished  facts.  What's 
done   can't   be   undone;    but    it   can    be   remedied. 

You  must  marry  this  young  at  once,  before  it 

gets  out.  He's  behaved  like  a  ruflSan:  but,  by  your 
own  confession,  you've  behaved  worse.  You've  been 
bitten  by  this  modern  disease,  this — this  utter  lack 
of  common  decency.  There's  an  eternal  order  in 
certain  things,  and  marriage  b  one  of  them;  in  fact, 
it's  the  chief.  Come,  now.  Give  me  a  promise,  and 
I'll  try  my  utmost  to  forget  the  whole  thing. 

Athene.  When  we  quarrelled,  father,  you  said 
you  didn't  care  what  became  of  me. 

Builder.  I  was  angry. 

Athene.  So  you  are  now. 

Builder.  Come,  Athene,  don't  be  childish !    Prom- 


ise me! 

Athene.  [With  a  little  shudder]  No!    We  were  on 

the  edge  of  it.    But  now  I've  seen  you  again 

Poor  mother ! 

Builder.  [Very  angry]  This  is  simply  blasphemous. 
What  do  you  mean  by  harping  on  your  mother?  If 
you  think  that— that— she  doesn't— that  she  isn't 

A.THENE.  Now,  father ! 

Builder.  I'm  damned  if  I'll  sit  down  under  this 
injustice.    Your    mother    is — is    pretty    irritating,    I 

can  tell  you.     She— she Everything  suppressed. 

And — and  no — ^blood  in  her ! 

Athene.  I  knew  it ! 

Builder.  [Atvare  that  he  has  conHrmed  some  thought 


32  A  FAMILY  MAN  acti 

in  her  that  he  had  no  intention  of  confirming]  What's 
that? 

Athene.  Don't  you  ever  look  at  your  own  face, 
father?    When  you  shave,  for  instance. 

Builder.  Of  course  I  do. 

Athene.  It  isn't  satisfied,  is  it? 

Builder.  I  don't  know  what  on  earth  you  mean. 

Athene.  You  can't  help  it,  but  you'd  be  ever  so 
much  happier  if  you  were  a  Mohammedan,  and  two 
or  three,  instead  of  one,  had — had  learned  to  know 
when  you  were  in  the  right. 

Builder.  Ton  my  soul!    This  is  outrageous! 

Athene.  Truth  often  is. 

Builder.  WiU  you  be  quiet  ? 

Athene.  I  don't  ever  want  to  feel  sorry  for  Guy 
in  that  way. 

Builder.  I  think  you*re  the  most  immodest 

I'm  ashamed  that  you're  my  daughter.  If  your 
mother  had  ever  carried  on  as  you  are  now 

Athene.  Would  you  have  been  firm  with  her? 

BmLDER.  [Realiy  sick  at  heart  at  this  -unwonted 
mockery  which  meets  him  at  every  turn]  Be  quiet, 
you ! 


Athene.  Has  mother  never  turned  ? 

Builder.  You're  an  unnatural  girl!    Go  your  own 
way  to  hell ! 

Athene.  I  am  not  coming  back  home,  father. 

Builder.  [Wrenching   open  the  door.   Right]  Julia! 
Come !     We  can't  stay  here. 

[Mrs.  Builder  comes  forth,  followed  by  Gut. 


sc.  n 


A  FAMILY  MAN  33 


As  for  you,  sir,  if  you  start  by  allowing  a  woman  to 
impose  her  crazj'  ideas  about  marriage  on  you,  all 
I  can  say  is— I  despise  you.  [He  crosses  to  the  outer 
door,  followed  by  his  vnje.  To  Athene]  I've  done 
with  you  I  [He  goes  out. 

Mrs.  Botlder,  who  has  so  far  seemed  to  ac- 
company him,  shuts  the  door  quickly  and 
remahvi  in  the  studio.  She  stands  there 
vnth  that  faini  smile  on  her  face,  looking 
at  the  two  young  people. 
Athene.  Awfully  sorrj%  mother;  but  don't  you  see 
what  a  scunner  father's  given  me.'' 

Mrs.  Builder.  My  dear,  all  men  are  not  alike. 
Gut.  I've  always  told  her  that,  ma'am. 
Athene.  [Sofdy]    Oh!    mother,    I'm   so   sorry   for 
you. 

The  handle  of  the  door  is  rattled,  a  fist  is  beaten 
on  it. 
[She  stamps,  and  covers  her  ears]  Disgusting ! 

Guy.  Shall  I ? 

Mrs-  Builder.  [Shaking  her  head]  I'm  going  in  a 
moment.     [To  Athene]  You  owe  it  to  me,  Athene. 
Athene.  Oh !  if  somebody  would  give  him  a  lesson ! 
[BL^LDER'8  voice:  "Julia I" 
Have  you  ever  tried,  mother.' 

Mrs.  Builder  looks  at  the  Young  Man,  who 
turns  away  out  of  hearing. 
Mrs.  Builder.  Athene,  you're  mistaken.    I've  al- 
ways stood  up  to  him  in  my  own  way. 
Athene.  Oh !  but,  mother — ^listen ! 


34  A  FAMILY  MAN  acti 

The  heating  and  rattling  have  recommend, 
and  the  voice:  "Are  you  coming  f* 
[PassioTMtely]  And    that's    famUy    life!    Father    was 
all  right  before  he  married,  I  expect.    And  now  it's 

like  this.    How  you  survive ! 

Mrs.  Builder.  He's  only  in  a  passion,  my  dear. 
Athene.  It's  wicked. 

Mrs.  BmLDER.  It  doesn't  work  otherwise,  Athene. 
[A  single  loud  bang  on  the  door. 
Athene.  If  he  beats  on  that  door  again,  I  shall 
scream. 

Mrs.  Builder  smiles,  shakes  her  head,  and 
turns  to  the  door. 
Mrs.  Builder.  Now,  my  dear,  you're  going  to  be 
sensible,  to  please  me.     It's  really  best.     If  I  say  so, 
it  must  be.    It's  all  comedy,  Athene. 
Athene.  Tragedy! 

Guy.  [Turning  to  them]  Look  here!    Shall  I  shift 
him? 

Mrs.  Builder  shakes  her  head  and  opens  the 
door.  Builder  stands  there,  a  furious 
figure. 

Builder.  Will  you  come,  and  leave  that  baggage 
and  her  cad  ? 

Mrs.  Builder  steps  quickly  out  and  the  door 
is  closed.    Guy  mcJces  an  angry  movement 
towards  it. 
Athene.  Guy! 

Guy.  [Turning  to  her]  That  puts  the  top  hat  on. 
So  persuasive !     [He  takes  out  of  his  pocket  a  wedding 


Bc.n  A  FAMILY  MAN  35 

ring,  and,  a  marriage  licence]  Well!    VVTiat's   to   be 
done  with  these  pretty  thmgs,  now  ? 

Athene.  Burn  them ! 

Gut.  [Slowly]  Not  quite.  You  can't  imagine  I 
should  ever  be  like  that,  Athene  ? 

Athene.  Marriage  does  wonders. 

Guy.  Thanks. 

Athene.  Oh !  Guy,  don't  be  horrid.  I  feel  awfully 
bad. 

Gut.  Well,  what  do  you  think  I  feel.'     "Cad!" 

They  turn  to  see  Annie  in  hat  and  coat,  xmih 
a  suit-case  in  her  hand,  coming  from  the 
door  Left. 

Annie.  Oh !  ma'am,  please.  Miss,  I  want  to  go 
home. 

Guy.  [Exasperated]  She  wants  to  go  home — she 
wants  to  go  home ! 

Athene.  Guy !    All  right,  Annie. 

Annie.  Oh !  thank  you,  Miss. 

[She  moves  across  in  front  of  them. 

Athene.  [Suddenbj]  Annie! 

[Annie  stops  and  turns  to  her. 
What  are  you  afraid  of  ? 

Annie,  [With  comparative  boldness]  I — ^I  might  catch 
it.  Miss. 

Athene.  From  your  people  ? 

Annie.  Oh !  no.  Miss;  from  you.  You  see,  I've 
got  a  young  man  that  wants  to  marry  me.  And  if 
I  don't  let  him,  I  might  get  into  trouble  meself. 

.\thene.  WTiat  sort  of  father  and  mother  have  you 
got,  Annie? 


86  A  FAMILY  MAN  acti 

Annie.  I  never  thought,  Miss.  And  of  course  I 
don't  want  to  begin. 

Athene.  D'you  mean  you'v*  neVer  noticed  how 
they  treat  each  other  ? 

Annie.  I  don't  think  they  do,  Miss. 

Athene.  Exactly. 

Annie.  They  haven't  time.  Father's  an  engine 
driver. 

Guy.  And  what's  your  young  man,  Annie? 

Annie.  [Embarrassed]  Somethin'  like  you,  sir.  But 
very  respectable. 

Athene.  And  suppose  you  marry  him,  and  he 
treats  you  like  a  piece  of  furniture  ? 

Annie.  I — I  could  treat  him  the  same.  Miss. 

Athene.  Don't  you  believe  that,  Annie ! 

Annie.  He's  very  mild. 

Athene.  That's  because  he  wants  you.  You  wait 
till  he  doesn't. 

[Annie  looks  at  Gut. 

Gut.  Don't  you  believe  her,  Annie;  if  he's  decent 

Annie.  Oh !  yes,  sir. 

Athene.  [Suppressing  a  smile]  Of  course — but  the 
point  is,  Annie,  that  marriage  makes  all  the  differ- 
ence. 

Annie.  Yes,  Miss;  that's  what  I  thought. 

Athene.  You  don't  see.  What  I  mean  is  that 
when  once  he's  sure  of  you,  he  may  change  completely. 

Annie.  [Slowly,  looking  at  Iier  thumb]  Oh!  I  don't 
— ^think — She'll  hammer  me.  Miss.  Of  course,  I  know 
you  can't  tell  till  you've  found  out. 

Athene.  Well,  I've  no  right  to  influence  you. 


sc.n  A  FAMILY  MAN  37 

Annie.  Oh!  no.  Miss;  that's  what  I've  been  think- 
ing. 

Gut.  You're  quite  right,  Annie — this  is  no  place 
for  you. 

Annie.  You  see,  we  can't  be  married,  sir,  till  he 
gets  his  rise.     So  it'll  be  a  continual  temptation  to  me. 

Athene.  Well,  all  right,  Annie.  I  hope  you'll 
never  regret  it. 

Annie.  Oh !  no.  Miss. 

Guy.  I  say,  Annie,  don't  go  away  thmking  evil  of 
us;  we  didn't  realise  you  knew  we  weren't  married. 

Athene.  We  certainly  did  not. 

Annie.  Oh!  I  didn't  think  it  right  to  take  notice. 

Guy.  We  beg  your  pardon. 

Annie.  Oh!  no,  sir.  Only,  seein'  Mr.  and  Mrs. 
Builder  so  upset,  brought  it  'ome  like.  And  father 
can  be  'andy  with  a  strap. 

Athene.  There  you  are !    Force  majeure  1 

Annie.  Oh !  yes.  Miss. 

Athene.  Well,  good-bye,  Annie.  What  are  you 
going  to  say  to  your  people? 

Annie.  Oh !  I  shan't  say  I've  been  livin'  in  a  family 
that  wasn't  a  family.  Miss.    It  wouldn't  do  no  good. 

Athene.  Well,  here  are  your  wages. 

Annie.  Oh !  I'm  puttin'  you  out,  Miss. 

[She  takes  the  money. 

Athene.  Nonsense,  Annie.  And  here's  your  fare 
home. 

Annie.  Oh!    thank   you.    Miss.    I'm    very    sorry. 

Of  course  if  you  was  to  change  your  mind 

[She  stops,  embarrassed. 


88  A  FAMILY  MAN  acti 

Ath£ne.  I  don't  think 

Gut.  [Abruptly]  Good-bye,  Annie.  Here's  five  bob 
for  the  movies. 

Annie.  Oh!  good-bye,  sir,  and  thank  you.  I  was 
goin'  there  now  with  my  yoimg  man.  He's  just 
round  the  corner. 

Guy.  Be  very  careful  of  him. 

Annie.  Oh !  yes,  sir,  I  will.  Good-bye,  sir.  Good- 
bye, Miss.  [She  goes. 

Guy.  So  her  father  has  a  firm  hand  too.  But  it 
takes  her  back  to  the  nest.    How's  that,  Athene? 

Athene.  [Playing  toith  a  leathern  bviton  on  his  coat\ 
If  you'd  watched  it  ever  since  you  could  watch  any- 
thing, seen  it  kill  out  all It's  having  power  that 

does  it.     I  know  Father's  got  awfully  good  points. 

Guy.  Well,  they  don't  stick  out. 

Athene.  He  works  fearfully  hard;  he's  upright, 
and  plucky.  He's  not  stingy.  But  he's  smothered 
his  animal  nature — and  that's  done  it.  I  don't  want 
to  see  you  smother  anything,  Guy. 

Guy.  [Gloomily]  I  suppose  one  never  knows  what 
one's  got  under  the  lid.  If  he  hadn't  come  here  to- 
day   [He  spins  the  wedding  ring]  He  certainly  gives 

one  pause.    Used  he  to  whack  you? 

Athene.  Yes. 

Guy.  Brute! 

Athene.  With  the  best  intentions.  You  see,  he's 
a  Town  Councillor,  and  a  magistrate.  I  suppose  they 
have  to  be  "firm."  Maud  and  I  sneaked  in  once  to 
listen  to  him.    There  was  a  woman  who  came  for 


sen  A  FAMILY  MAN  9» 

protection  from  W  husband.  If  he'd  known  we  were 
there,  he'd  have  had  a  fit. 

Gut.  Did  he  give  her  the  protection  ? 

Athene.  Yes;  he  gave  her  back  to  the  husband. 
Wasn't  it— English.' 

Gut.  [With  a  grunt]  Hang  it!  We're  not  all  like 
that. 

Athene.  [Tioisting  his  button]  I  think  it's  really  a 
sense  of  property  so  deep  that  they  don't  know  they've 
got  it.  Father  can  talk  about  freedom  like  a — politi- 
cian. 

Gut.  [Fitting  the  wedding  ring  on  her  Unger]  Well! 
Let's  see  how  it  looks,  anyway. 

Athene.  Don't  play  with  fire,  Guy. 

Gut.  There's  something  in  atavism,  darling;  there 
really  is.    I  like  it — ^I  do.  [A  knock  at  the  door. 

Athene.  That  sounds  like  Annie  again.    Just  see. 

Gut.  [Opening  the  door]  It  is.  Come  in,  Annie. 
What's  wrong  now  ? 

Annie.  [Entering  in  confusion]  Oh !  sir,  please,  sir — 
I've  told  my  young  man. 

Athene.  Well,  what  does  he  say  ? 

Annie.  'E  was  'orrified.  Miss. 

Gut.  The  deuce  he  was!    At  our  conduct? 

Annie.  Oh !  no,  sir — at  mine. 

Athene.  But  you  did  your  best;  you  left  us. 

Annie.  Oh!  yes.  Miss;  that's  why  'e's  horrified. 

Gut.  Good  for  your  young  man. 

Annie.  [Flattered]  Yes,  sir.  'E  said  I 'ad  no  strength 
of  mind. 


40  A  FAMILY  MAN  acti 

Athene.  So  you  want  to  come  back? 
Annie.  Oh !  yes.  Miss. 
Athene.  All  right. 
Gmr.  But  what  about  catching  it? 
Annie.  Oh,  sir,  'e  said  there  was  nothing  like  Epsom 
salts. 

Guy.  He's  a  wag,  your  young  man. 
Annie.  He  was  in  the  Army,  sir. 
Guy.  You  said  he  was  respectable. 
Annie.  Oh !  yes,  sir;  but  not  so  respectable  as  that. 
Athene.  Well,  Annie,  get  your  things  oflf,  and  lay 
lunch. 
Annie.  Oh !  yes.  Miss. 

She  makes  a  little  curtsey  and  passes  through 
info  the  kitchen. 
Gut.  Strength  of  mind !    Have  a  little,  Athene — 
won't  you  ? 

[He  holds  out  the  marriage  licence  before  her. 
Athene.  I    don't    know — I    don't    know !    If — it 

turned  out 

Guy.  It  won't.    Come  on.     Must  take  chances  in 
this  life. 

Athene.  [Looking  up  into  his  face]  Guy,  promise 
me — solemnly  that  you'll  never  let  me  stand  in  your 
way,  or  stand  in  mine ! 
Guy.  Right!    That's  a  bargain. 

[They  embrace. 
Athene  quivers  towards  him.     They  embrace 
fervently  as  Annie  enters  vnlh  the  bread  pan. 
They  spring  apart. 


sc.n  A  FAMILY  IVIAN  41 

Annie.  Oh! 

Guy.  It's  all  right,  Annie.  There's  only  one  more 
day's  infection  before  you.  We're  to  be  married  to- 
morrow morning. 

Annie.  Oh  lyes,  sir.    Won't  Mr.  Builder  be  pleased  ? 

Gut.  H'm !    That's  not  exactly  our  reason. 

Annie.  [Right]  Oh!  no,  sir.  Of  course  you  can't 
be  a  family  without,  can  you  ? 

Guy.  What  have  you  got  in  that  thing.? 

Annie  is  moving  across  with  the  bread  pan. 
She  halts  at  the  bedroom  door. 

Annie.  Oh!  please,  ma'am,  I  was  to  give  you  a 
message — very  important — ^from  Miss  Maud  Builder: 
"Lookout!    Father  is  coming!"  [She  goes  out. 

The  CvHTAis  falls. 


ACT  II 


ACT  II 

Buildkr's  study.    At  the  table,  Maud  has  just  put  a 
sheet  of  paper  into  a  typewriler.    She  sits  facing 
the  audience,  with  her  hands  stretched  over  the  keys. 
Maud.  {To  herself]  I  must  get  that  expression. 

Her  face  assumes  a  furtive,  listening  look. 
Then  she  gets  up,  whisks  to  the  mirror  over 
the  fireplace,  scrutinises  the  expression  in  it, 
and  going  hack  to  the  table,  sits  down  again 
vnth  hands  outstretched  above  the  keys,  and 
an  accentuation  of  the  expression.  The  door 
up  Left  w  opened,  and  Topping  appears. 
He  looks  at  Maud,  who  just  turns  her  eyes. 
Topping.  Lunch  has  been  ready  some  time.  Miss 
Maud. 

Maud.  I  don't  want  any  lunch.     Did  you  give  it? 

Topping.  Miss  Athene  was  out.     I  gave  the  message 

to  a  young  party.    She  looked  a  bit  green.  Miss.    I 

hope  hothing'U  go  wrong  with  the  works.    Shall  I 

keep  lunch  back? 

Maud.  If  somethmg's  gone  wrong,  they  won't  have 
any  appetite,  Toppmg. 

Topping.  If  you  think  I  might  risk  it.  Miss,  I'd 
like  to  slip  round  to  my  dentist. 

[He  lays  a  finger  on  his  cheek. 
45 


48  A  FAMILY  MAN  acth 

Maud.  [Smiling]  Oh!  What  race  k  being  run  tlui 
afternoon,  then.  Topping? 

Toppmo.  [Tieinkling,  and  thifting  his  finger  to  ik» 
side  of  his  nose]  Well,  I  don't  suppose  you've  'eard  of 
it.  Miss;  but  as  a  matter  of  fact  it's  the  Cesarwitch. 

Maud.  Got  anything  on? 

Topping.  Only  my  shirt,  Miss. 

Maud.  Is  it  a  good  thing,  then  ? 

Topping.  I've  seen  worse  roll  up.  [With  a  touch  of 
enthusiasm]  Dark  horse.  Miss  Maud,  at  twenty  to 
one. 

Maud.  Put  me  ten  bob  on.  Topping.  I  want  all 
the  money  I  can  get,  just  now. 

Topping.  You're  not  the  first.  Miss. 

Maud.  I  say.  Topping,  do  you  know  anything 
about  the  film  ? 

Topping.  [Nodding]  Rather  a  specialty  of  mine. 
Miss. 

Maud.  Well,  just  stand  there,  and  give  me  your 
(pinion  of  this. 

[Topping  mxtves  doivn  Left. 
She  crouches  over  the  typetcriter,  lets  her  hands 
play  on  the  keys ;  stops;  assumes  that  listen- 
ing, furtive  look;  listens  again,  and  lets  her 
head  go  slowly  round,  preceded  by  her  eyes; 
breaks  it  off,  and  says : 
What  should  you  say  I  was? 

Topping.  Guilty,  Miss. 

Maud.  [With  triumph]  There!  Then  you  think 
I've  got  it? 


Acru  A  FAMILY  MAN  47 

T0PPIN6.  Well,  of  course,  I  couldn't  say  just  what 
sort  of  a  crime  you'd  conunitted,  but  I  should  think 
pretty  'ot  stuflF. 

Maud.  Yes;  I've  got  them  here. 

[She  pats  her  chest. 

Topping.  Really,  Miss. 

Maud.  Yes.  There's  just  one  point,  Toppmg;  it's 
psychological. 

Topping.  Indeed,  Miss? 

Maud.  Should  I  naturally  put  my  hand  on  them; 
or  would  there  be  a  reaction  quick  enough  to  stop  me  ? 
You  see,  I'm  alone — and  the  point  is  whether  the  fear 
of  being  seen  would  stop  me  although  I  knew  I  couldn't 
be  seen.    It's  rather  subtle. 

Topping.  I  think  there's  be  a  rehaction,  Miss. 

Maud.  So  do  I.  To  touch  them  [She  clasps  her  chest] 
is  a  bit  obvious,  isn't  it  ? 

Topping.  If  the  haudience  knows  you've  got  'em 
there. 

Maud.  Oh !  yes,  it's  seen  me  put  them.  Look  here, 
I'll  show  you  that  too. 

She  opens  an  imaginary  drawer,  takes  out  some 
bits  of  sealing-wax,  and  with  every  circum- 
fiance  of  stealth  in  face  and  hands,  conceals 
them  in  her  bosom. 
All  right? 

Topping.  [Nodding]  Fme,  Miss.  You  have  got  a 
jBlm  face.    What  are  they,  if  I  may  ask  ? 

Maud.  [Reproducing  the  sealing-wax]  The  Fanshawe 
diamonds.    There's  just  one  thing  here  too.  Topping. 


48  A  FAMILY  MAN  act  ii 

In  real  life,  which  should  I  naturally  do — ^put  them  in 
here  [She  touches  her  chest]  or  in  my  bag? 

Topping.  [Toitching  his  waistcoat — earnestly]  Well ! 
To  put  'em  in  here.  Miss,  I  should  say  is  more — more 
pishchological. 

Maud.  [Subduing  her  lips]  Yes;  but 

Topping.  You  see,  then  you've  got  'em  on  you. 

Maud.  But  that's  just  the  point.  Shouldn't  I 
naturally  think:  Safer  in  my  bag;  then  I  can  pretend 
somebody  put  them  there.  You  see,  nobody  could 
put  them  on  me. 

Topping.  Well,  I  should  say  that  depends  on  your 
character.  Of  course  I  don't  know  what  your  char- 
acter is. 

Maud.  No;  that's  the  beastly  part  of  it — the  author 
doesn't,  either.     It's  all  left  to  me. 

Topping.  In  that  case,  I  should  please  myself.  Miss. 
To  put  'em  in  'ere's  warmer. 

Maud.  Yes,  I  think  you're  right.    It's  more  human. 

Topping.  I  didn't  know  you  'ad  a  taste  this  way. 
Miss  Maud. 

Maud.  More  than  a  taste.  Topping — a  talent. 

Topping.  Well,  in  my  belief,  we  all  have  a  vice 
about  us  somewhere.  But  if  I  were  you.  Miss,  I 
wouldn't  touch  bettin',  not  with  this  other  on  you. 
You  might  get  to  feel  a  bit  crowded. 

Maud.  Well,  then,  only  put  the  ten  bob  on  if  you're 
sure  he's  going  to  win.  You  can  post  the  money  on 
after  me.  I'll  send  you  an  address.  Topping,  because 
I  shan't  be  here. 


Acrn  A  FAMILY  MAN  49 

Topping.  [Disturbed\  What !  You're  not  going,  too. 
Miss  Maud? 

Maud.  To  seek  my  fortune. 

Topping.  Oh!  Hang  it  all.  Miss,  think  of  what 
you'll  leave  behind.  Miss  Athene's  leavin'  home  has 
made  it  pretty  steep,  but  this'il  touch  bottom — ^this 
wiU. 

Maud.  Yes;  I  expect  you'll  find  it  rather  difficult 
for  a  bit  when  I'm  gone.  Miss  Baldini,  you  know. 
I've  been  studying  with  her.  She's  got  me  this  chance 
with  the  movie  people.  I'm  going  on  trial  as  the  guilty 
typist  in  "The  Heartache  of  Miranda." 

Topping.  [Surprised  out  of  politeness]  Well,  I  never ! 
That  does  sound  like  'em!  Are  you  goin'  to  tell  the 
guv'nor,  Mis^? 

[Maud  nods. 
In  that  case,  I  thmk  I'll  be  gettin'  off  to  my  dentist 
before  the  band  plays. 

Maud.  All  right,  Topping;  hope  you  won't  lose  a 
tooth. 

Topping.  [With  a  grin]  It's  on  the  knees  of  the 
gods.  Miss,  as  they  say  in  the  headlines. 

[He  goes.    Maud  stretches  herself  and  listens. 

Maud.  I  believe  that's  them.    Shivery  funky. 

[She  runs  off  up  Left. 

Builder.  [Entering  from  the  haU  and  crossing  to  the 
fireplace]  Monstrous !    Really  monstrous ! 

Camille  enters  from  the  hall.    She  has  a  little 
coUeding  book  in  her  hand. 

BuiiiDER.  Well,  Camille.^ 


50  A  FAMILY  MAN  acth 

* 

Camille.  A  sistare  from  the  Sacred  'Eart,  Monsieur 
— ^her  little  book  for  the  orphan  children. 

Builder.  I  can't  be  bothered — What  is  it? 

Camille.  Orphan,  Monsieur. 

Builder.  H'm !  Well !  [Feeling  in  his  breast  pockei] 
Give  her  that.  [He  hands  her  a  five-pound  note. 

Camille.  I  am  sure  she  will  be  veree  grateful  for 
the  poor  little  beggars.  Madame  says  she  will  not 
be  coming  to  lunch.  Monsieur. 

Builder.  7  don't  want  any,  either.  Tell  Topping 
I'll  have  some  coflFee. 

Camille.  Topping  has  gone  to  the  dentist.  Mon- 
sieur; 'e  'as  the  toothache. 

Builder.  Toothache — ^poor  devil!  H'm!  I'm  ex- 
pecting my  brother,  but  I  don't  know  that  I  can  see 
him. 

Camille.  No,  Monsieur? 

Builder.  Ask  your  mistress  to  come  here. 

He  looks  up,  and  catching  her  eye,  looks  away, 

Camille.  Yes,  Monsieur. 

As  she  turns  he  looks  swifUy  at  her,  sweeping 
her  up  and  dovm.    She  turns  her  head  and 
catches  his  glance,  which  is  swiftly  dropped. 
Will  Monsieur  not  'ave  anything  to  eat  ? 

Builder.  [Shaking  his  head — abruptly]  No.  Bring 
the  coflfee ! 

Camille.  Is  Monsieur  not  well? 

Builder.  Yes — quite  well. 

Camille.  [Sweetening  her  eyes]  A  cutlet  soubise? 
No? 


ACTH  A  FAMILY  MAN  61 

Builder.  [With  a  faint  response  in  his  eyes,  instantly 
subdued]  Nothing !  nothing ! 

Camille.  And  Madame  nothing  too — ^Tt !    Tt ! 

WOh  her  hand  on  the  door  she  looks  hack,  again 
catches  his  eyes  in  an  engagement  instantly 
broken  off,  and  goes  out. 

Builder.  [Stock-still,  and  staring  at  the  door]  That 
girl's  a  continual  irritation  to  me !    She's  dangerous ! 

What  a  life !    I  believe  that  girl 

The  door  Left  is  opened  and  Mrs.  Builder 
coToes  in. 

Builder.  There's  some  cofiFee  coming;  do  your 
head  good.  Look  here,  Julia.  I'm  sorry  I  beat  on 
that  door.  I  apologize.  I  was  in  a  towering  passion. 
I  wish  I  didn't  get  into  these  rages.  But — dash  it 
all !    I  couldn't  walk  away  and  leave  you  there. 

Mrs.  Builder.  Why  not? 

Builder.  You  keep  everything  to  yourself,  so;  I 
never  have  any  notion  what  you're  thinking.  What 
did  you  say  to  her? 

Mrs.  Builder.  Told  her  it  would  never  work. 

Builder.  Well,  that's  something.  She's  crazy. 
D'you  suppose  she  was  telling  the  truth  about  that 
young  blackguard  wanting  to  marry  her? 

Mrs.  Builder.  I'm  sure  of  it. 

Builder.  When  you  think  of  how  she's  been  brought 
up.    You  would  have  thought  that  religion  alone 

Mrs.  Builder.  The  girls  haven't  wanted  to  go  to 
church  for  years.  They've  always  said  they  didn't 
see  why  they  should  go  to  keep  up  your  position.    I 


52  A  FAMILY  MAN  act  u 

don't  know  if  you  remember  that  you  once  caned  them 
for  running  off  on  a  Sunday  morning. 

Builder.  Well? 

Mrs.  Builder.  They've  never  had  any  religion 
since. 

Builder.  H'm !  [He  takes  a  short  turn  up  the  room] 
What's  to  be  done  about  Athene  ? 

Mrs.  Builder.  You  said  you  had  done  with  her. 

Builder.  You  know  I  didn't  mean  that.  I  might 
just  as  well  have  said  I'd  done  with  you !  Apply 
your  wits,  Julia !  At  any  moment  this  thing  may 
come  out.  In  a  little  town  like  this  you  can  keep 
nothing  dark.  How  can  I  take  this  nomination  for 
Mayor .'' 

Mrs.  Builder.  Perhaps  Ralph  could  help. 

Builder.  What?  His  daughters  have  never  done 
anything  disgraceful,  and  his  wife's  a  pattern. 

Mrs.  Builder.  Yes;  Ralph  isn't  at  all  a  family 
man. 

Builder.  [Staring  at  her]  I  do  wish  you  wouldn't 
turn  things  upside  down  in  that  ironical  way.  It 
isn't — ^English. 

Mrs,  Builder.  I  can't  help  having  been  born  in 
Jersey. 

Builder.  No;  I  suppose  it's  in  your  blood.  The 
French [He  stops  short. 

Mrs.  Builder.  Yes? 

Builder.  Very  irritating  sometimes  to  a  plain 
Englishman — that's  all. 

Mrs.  Builder.    Shall  I  get  rid  of  Camillo? 


Acrn  A  FAMILY  MAN  53 

Builder.  [Staring  at  Iter,  then  dropping  his  glance] 
Camille  ?    What's  she  got  to  do  with  it  ? 

Mrs.  Builder.  I  thought  perhaps  you  found  her 
irritating. 

Builder.  Why  should  I.'' 

Camille  comes  in  from  the  dining-room  with 
the  coffee. 
Put  it  there.    I  want  some  brandy,  please. 

Camille.  I  bring  it.  Monsieur. 

\She  goes  hack  demurely  into  the  dining-room. 

Builder.  Topping's  got  toothache,  pjoor  chap ! 
[Pouring  out  the  coffee]  Can't  you  suggest  any  way  of 
making  Athene  see  reason  ?  Think  of  the  example ! 
Maud  will  be  kicking  over  next.  I  shan't  be  able  to 
hold  my  head  up  here. 

Mrs.  Builder.  I'm  afraid  I  can't  do  that  for  you. 

Builder.  [Exasperated]  Look  here,  Julia!  That 
wretched  girl  said  something  to  me  about  our  life 
together.     What — what's  the  matter  with  that? 

Mrs.  Builder.  It  is  irritating. 

Builder.  Be  explicit. 

Mrs.  Builder.  We  have  lived  together  twenty- 
three  years,  John.     No  talk  will  change  such  things. 

Builde:r.  Is  it  a  question  of  money?  You  can 
always  have  more.  You  know  that.  [Mrs.  Builder 
smiles]  Oh !  don't  smile  like  that;  it  makes  me  feel 
quite  sick ! 

Camille    enters    with   a    decanter   and    little 
glasses,  from  the  dining-room. 

Camille.  The  brandy,  sir.  Monsieur  Ralph  Builder 
has  just  come. 


64  A  FAMILY  MAN  acth 

Mrs.  Builder.  Ask  him  in,  Camille. 
CAioiiLS.  Yes,  Madame. 

[She  goes  through  the  doorway  into  the  hall. 

Mrs.   BuTLDEn,  following  towards  the  door, 

meets  Ralph  Builder,  a  man  rather  older 

than  Builder  and  of  op'posite  build  and 

manner.    He  has  a  pleasant,  whimsical  face 

and  grizzled  hair. 

Mrs.  Builder.  John  wants  to  consult  you,  Ralph. 

Ralph.  That's  very  gratifying. 

She  passes  him  and  goes  out,  leaping  the  two 
brothers  eying  one  another. 
About  the  Welsh  contract  ? 

Builder.  No.  Fact  is,  Ralph,  something  very 
horrible's  happened. 

Ralph.  Athene  gone  and  got  married? 
Builder.  No.    It's — it's  that  she's  gone  and — and 
not  got  married. 

[Ralph  tUters  a  sym-paihetic  whistle. 
Jolly,  isn't  it  ? 

Ralph.  To  whom  ? 
Builder.  A  young  flying  bounder. 
Ralph.  And  why  ? 

Builder.  Some  crazy  rubbish  about  family  life, 
of  all  things. 

Ralph.  Athene's  a  most  interesting  girl.  All  these 
yoimg  jjeople  are  so  queer  and  delightful. 

Builder.  By  George,  Ralph,  you  may  thank  your 
stars  you  haven't  got  a  delightful  daughter.  Yours 
are  good,  decent  girls. 


Acrn  A  FAMILY  MAN  55 

Ralph.  Athene's  tremendously  good  and  decent, 
John.  I'd  bet  any  money  she's  doing  this  on  the 
highest  principles. 

Builder.  Behaving  like  a 

Ralph.  Don't  say  what  you'll  regret,  old  man ! 
Athene  always  took  things  seriously — ^bless  her ! 

Builder.  Julia  thinks  you  might  help.  You  never 
seem  to  have  any  domestic  troubles. 

Ralph.  No-o.    I  don't  think  we  do. 

Builder.  How  d'you  account  for  it  ? 

Ralph.  I  must  ask  at  home. 

Builder.  Dash  it !    You  must  know ! 

Ralph.  We're  all  fond  of  each  other. 

Builder.  Well,  I'm  fond  of  my  girls  too;  I  suppose 
I'm  not  amiable  enough.    H'm  ? 

Ralph.  Well,  old  man,  you  do  get  blood  to  the 
head.    But  what's  Athene's  point,  exactly  ? 

Builder.  Family  life  isn't  idyllic,  so  she  thinks  she 
and  the  young  man  oughtn't  to  have  one. 

Ralph.  I  see.    Home  experience  ? 

Builder.  Hang  it  all,  a  family's  a  family!  There 
must  be  a  head. 

Ralph.  But  no  tail,  old  chap. 

Builder.  You  don't  let  your  women  folk  do  just 
as  they  like? 

Ralph.  Always. 

Builder.  What  happens  if  one  of  your  girls  wants 
to  do  an  unproper  thing  ?  [Ralph  shrugs  his  shoulders] 
You  don't  stop  her  ? 

Ralph.  Do  you?  


56  A  FAMILY  MAN  Acrn 

Builder.  I  try  to. 

Ralph.  Exactly.  And  she  docs  it.  I  don't  and 
she  doesn't. 

Builder.  [Wiik  a  short  laugh]  Good  Lord !  I  sup- 
pose you'd  have  me  eat  humble  pie  and  tell  Athene 
she  can  go  on  living  in  sin  and  offending  society,  and 
have  my  blessing  to  round  it  off. 

Ralph.  I  think  if  you  did  she'd  probably  marry  him. 

Builder.  You've  never  tested  your  theory,  I'll  bet. 

Ralph.  Not  yet. 

Builder.  There  you  are. 

Ralph.  The  suavUer  in  modo  pays,  John.  The 
times  are  not  what  they  were. 

Builder.  Look  here !  I  want  to  get  to  the  bottom 
of  this.  Do  you  tell  me  I'm  any  stricter  than  nine 
out  of  ten  men  ? 

Ralph.  Only  in  practice. 

Builder.  [Pvzded]  How  do  you  mean  ? 

Ralph.  Well,  you  profess  the  principles  of  liberty, 
but  you  practise  the  principles  of  government. 

Builder.  H'm !  {Taking  up  the  decanter]  Have  some? 

Ralph.  No,  thank  you. 

{BxnhDER  fills  and  raises  his  glass. 

Camille.  [Entering]  Madame  left  her  coffee. 

She  comes  forward,  holds  end  a  cup  for  BrjiLDBR 
to  pour  into,  takes  ii  and  goes  out.  Build- 
er's glass  remains  suspended.  He  drinks 
the  brandy  off  as  she  shuts  the  door. 

Builder.  Life  isn't  all  roses,  Ralph. 

Ralph.  Sorry,  old  man. 


Acrn  A  FAMILY  MAN  57 

BuiLDEK.  I  sometimes  thiiik  I  try  myself  too  high. 
Well,  about  that  Welsh  contract  ? 
Ralph.  Let's  take  it. 

BuiLDEB.  U  you'll  attend  to  it.    Frankly,  I'm  too 
upset. 

As  they  go  towards  the  door  into  the  hall,  Maud 
comes  in  from  the  dining-room,  in  hat  and 
coat. 
Ralph.  [Catching  sight  of  her]  Hallo!    All  well  in 
your  cosmogony,  Maud  ? 

Maud.  What  is  a  cosmogony.  Uncle? 
Ralph.  My  dear,  I — ^I  don't  know. 

He  goes  out,  followed  by  Builder.    Maud 
goes  quickly  to  the  table,  sits  dovm  and  rests 
her  elbows  on  it,  her  chin  on  her  hands,  look- 
ing at  the  door. 
Builder.  [Re-entering]  Well,    Maud.    You'd    haVe 
won  your  bet ! 

Maud.  Oh!  father,  I — I've  got  some  news  for  you. 
Builder.  [Staring  at  her]  News — what  ? 
Maud.  I'm  awfully  sorry,  but  I — I've  got  a  job. 
Builder.  Now,   don't  go  saying   you're   going   in 
for  Art,  too,  because  I  won't  have  it. 

Maud.  Art?    Oh!  no!    It's  the [With  a  jerk] 

the  Movies. 

Builder,  who  has  taken  up  a  pipe  to  fill,  puis 
it  dovm. 
Builder.  [Impressively]  I'm  not  in  a  joking  mood. 
Maud.  I'm  not  joking,  father. 
Builder.  Then  what  are  you  talking  about? 


58  A  FAMILY  MAN  Acrn 

Maud.  You  see,  I — ^I've  got  a  film  face,  and 

Builder.  You've  what?  [Going  up  to  kis  daughter y 
he  takes  hold  of  her  chin]  Don't  talk  nonsense !  Your 
sister  has  just  tried  me  to  the  limit. 

Maud.  [Removing  his  hand  from  her  chin]  Don't 
oppose  it,  father,  please !  I've  always  wanted  to  earn 
my  own  living. 

Builder.  Living!    Living! 

Maud.  [Gathering  determination]  You  can't  stop  me, 
father,  because  I  shan't  need  support.  I've  got  quite 
good  terms. 

Builder.  [Almost  choking,  hut  mastering  himself.] 
Do  you  mean  to  say  you've  gone  as  far  as  that? 

Maud.  Yes.    It's  all  settled. 

Builder.  Who  put  you  up  to  this  ? 

Maud.  No  one.  I've  been  meaning  to,  ever  so 
long.    I'm  twenty-one,  you  know. 

Builder.  A  film  face!  Good  God!  Now,  look 
here!  I  will  not  have  a  daughter  of  mine  mixed  up 
with  the  stage.  I've  spent  goodness  knows  what  on 
your  education — both  of  you. 

Maud.  I  don't  want  to  be  ungrateful;  but  I — I 
can't  go  on  living  at  home. 

Builder.  You    can't !    Why?    You've    every 

indulgence. 

Maud.  [Clearly  and  coldly]  I  can  remember  oc- 
casions when  your  indulgence  hurt,  father.  [She 
vmggles  her  shoulders  and  back]  We  never  forgot  or 
forgave  that. 

Builder.  [Uneasily]  That!    You    were    just    kids. 


Acrn  A  FAMILY  MAN  59 

Maud.  Perhaps  you'd  like  to  begin  again  ? 

Builder.  Don't  twist  my  tail,  Maud.  I  had  the 
most  painful  scene  with  Athene  this  morning.  Now 
come!  Give  up  this  silly  notion!  It's  really  too 
childish ! 

Maud.  [Looking  at  him  curiously]  I've  heard  you 
say  ever  so  many  times  that  no  man  was  any  good 
who  couldn't  make  his  own  way,  father.  Well,  women 
are  the  same  as  men,  now.  It's  the  law  of  the  coun- 
try.   I  only  want  to  make  my  own  way. 

Builder.  [Trying  to  subdue  his  anger]  Now,  Maud, 
don't  be  foolish.  Consider  my  position  here — ^a  Town 
Coimcillor,  a  Magistrate,  and  Mayor  next  year.  With 
one  daughter  living  with  a  man  she  isn't  married  to 

Maud.  [With  lively  interest]  Oh !  So  you  did  catch 
them  out? 

BtriLDER.  D'you  mean  to  say  you  knew  ? 

Maud.  Of  course. 

BuiiDER.  My  God !  I  thought  we  were  a  Christian 
family. 

Maud.  Oh !  father. 

Builder.  Don't  sneer  at  Christianity ! 

Maud.  There's  only  one  thing  wrong  with  Chris- 
tians— they  aren't ! 

Builder  seizes  her  by  the  shoulders  and  shakes 
her  vigorously.  When  he  drops  her  shoulders, 
she  gets  up,  gives  him  a  vicious  look,  and 
suddenly  stamps  her  foot  on  his  toe  with  all 
her  might. 

Builder.  [With  a  yowl  of  pain]  You  little  devil ! 


60  A  FAMILY  MAN  acth 

Maud.  [Who  has  put  the  table  between  them]  I  won't 
stand  being  shaken. 

BmiiDER.  [Staring  at  her  across  the  table]  You've 
got  my  temper  up  and  you'll  take  the  consequences. 
I'll  make  you  toe  the  line. 

Maud.  If  you  knew  what  a  Prussian  expression 
you've  got ! 

BuiiJ)£R  passes  his  hand  across  his  face  un- 
easily, as  if  to  toipe  something  off. 
No !    It's  too  deep ! 

Builder.  Are  you  my  daughter  or  are  you  not? 

Maud.  I  certainly  never  wanted  to  be.  I've  always 
disliked  you,  father,  ever  since  I  was  so  high.  I've 
seen  through  you.  Do  you  remember  when  you  used 
to  come  into  the  nursery  because  Jenny  was  pretty? 
You  think  we  didn't  notice  that,  but  we  did.  And 
in  the  schoolroom — Miss  Tipton.  And  d'you  re- 
member knocking  our  heads  together?  No,  you 
don't;  but  we  do.     And 

Builder.  You  disrespectful  monkey!  Will  you 
be  quiet? 

Maud.  No;  you've  got  to  hear  things.  You  don't 
really  love  anybody  but  yourself,  father.  What's 
good  for  you  has  to  be  good  for  everybody.  I've 
often  heard  you  talk  about  independence,  but  it's 
a  limited  company  and  you've  got  all  the  shares. 

Builder.  Rot;  only  people  who  can  support  them- 
selves have  a  right  to  independence. 

Maud.  That's  why  you  don't  want  me  to  support 
myself. 


Acrn  A  FAMILY  MAN  61 

Builder.  You  can't !  Film,  indeed !  You'd  be 
in  the  gutter  in  a  year.  Athene's  got  her  pittance,  but 
you — ^you've  got  nothing. 

Maud.  Except  my  face. 

BuiLDEB.  It's  the  face  that  brings  women  to  ruin, 
my  girl. 

Maud.  Well,  when  I'm  there  I  won't  come  to  you 
to  rescue  me. 

Builder.  Now,  mind — if  you  leave  my  house,  I've 
done  with  you. 

Maud.  I'd  rather  scrub  floors  now,  than  stay. 

Builder.  [Almost  pathetically]  Well,  I'm  damned ! 
Look  here,  Maud — ^all  this  has  been  temper.  You 
got  my  monkey  up.  I'm  sorry  I  shook  you;  you've 
bad  your  revenge  on  my  toes.  Now,  come!  Don't 
make  things  worse  for  me  than  they  are.  You've  all 
the  liberty  you  can  reasonably  want  till  you  marry. 

Maud.  He  can't  see  it — he  absolutely  can't ! 

Builder.  See  what? 

Maud.  That  I  want  to  live  a  life  of  my  own. 

He  edges  nearer  to  her,  and  she  edges  to  keep 
her  distance. 

Builder.  I  don't  know  what's  bitten  you. 

Maud.  The  microbe  of  freedom;  it's  in  the  air. 

Builder.  Yes,  and  there  it'll  stay — ^that's  the  first 
sensible  word  you've  uttered.  Now,  come!  Take 
your  hat  off,  and  let's  be  friends ! 

Maud  looks  at  him  and  slowly  takes  off  her  hat. 

Builder.  [Relaxing  his  attitude,  with  a  sigh  of  relief] 
ThaX's  Ti^V.  [Crosses  to  fireplace]. 


62  A  FAMILY  MAN  actii 

Maud.  [Springing  to  the  door  leading  to  the  haU\ 
Good-bye,  father ! 

BxnLDER.  [FoUovnng  her\  Monkey ! 

At  the  sound  of  a  holt  shot.  Builder  goes 
up  to  the  vrnidow.     Tlwre  is  a  fumbling  at 
tJie  door,  and  Camille  appears. 
BmiiDER.  What's  the  matter  with  that  door? 
CAMiiiLE.  It  was  bolted,  Monsieur. 
BuiioDER.  Who  bolted  it? 

CaMille.  [Shrugging  her  shoulders]  I  can't  tell. 
Monsieur.  [She  collects  the  cups,  and  halts  dose  to  him. 
Softly]  Monsieur  is  not  'appy. 

Builder.  [Surprised]  What?  No!  Who'd  be  happy 
in  a  household  like  mine  ? 

Camille.  But  so  strong  a  man — ^I  wish  /  was  a 
strong  man,  not  a  weak  woman. 

Builder.  [Regarding  her  with  reluctant  admiration] 
Why,  what's  the  matter  with  you? 

Camille.  Will    Monsieur    have    another    glass    of 
brandy  before  I  take  it? 
Builder.  No !    Yes — I  will. 

She  pours  it  out,  and  he  drinks  ii,  hands  her 
the  glass  and  sits  down  suddenly  in  an  arm- 
chair. Camille  puts  the  glass  on  a  tray, 
and  looks  for  a  box  of  matches  from  the 
mantelshelf. 
Camille.  A  light,  Monsieur? 
Builder.  Please. 

Camille.  [She  trips  over  his  feet  and  sinki  on  to  his 
knee]  Oh !  Monsieur ! 


Acrn  A  FAMILY  MAN  63 

BxjihDER  flames  up  and  catches  her  in  his  arms. 
Oh !  Monsieur ! 
Builder.  You  little  devil ! 

She  suddenly  kisses  him,  and  he  returns  the 
Mss.     While  they  are  engaged  in  this  en- 
trancing occupation,  Mrs.  Builder  opens 
the  door  from  the  hall,  watches  unseen  for 
a  few  seconds,  and  quietly  goes  out  again. 
Builder.  [Pushing  her  back  from  him,  whether  at 
the  sound  of  the  door  or  of  a  still  small  voice]  What  am 
I  doing? 
Camille.  Kissing. 

Builder.  I— I  forgot  myself.  [They  rise. 

CAikiiLLE.  It  was  na-ice. 

Builder.  I   didn't   mean   to.    You   go   away— go 
away ! 
Camille.  Oh !  Moasieur,  that  spoil  it. 
Builder.  [Regarding   her  fixedly]  It's   my   opinion 
you're  a  temptation  of  the  devil.    You  know  you  sat 
down  on  purpose. 

Camille.  Well,  |)erhaps. 

Builder.  What  business  had  you  to  ?    I'm  a  family 
man. 

Camille.  Yes.    What  a  pity !    But  does  it  matter  ? 
Builder.  [Much  beset]  Look  here,  you  know !    This 
won't  do !    It  won't  do !    I— I've  got  my  reputation 
to  think  of ! 

Camille.  So  'ave  I!    But  there  is  lots  of  time  to 
think  of  it  in  between. 


64  A  FAMILY  MAN  actd 

Builder.  I  knew  you  were  dangerous.  I  always 
knew  it. 

Camille.  What  a  thing  to  say  of  a  little  woman! 

Builder.  We're  not  in  Paris. 

Camille.  [Clasping  her  hands]  Oh !  'Ow  I  wish  we 
was! 

Builder.  Look  here — ^I  can't  stand  this;  you've 
got  to  go.  Out  with  you!  I've  always  kept  a  firm 
hand  on  myself,  and  I'm  not  going  to 

Camille.  But  I  admire  you  so ! 

Builder.  Suppose  my  wife  had  come  in? 

Camille.  Oh!  Don't  suppose  any  such  a  dis- 
agreeable thing !  If  you  were  not  so  strict,  you  would 
feel  much  'appier. 

Builder.  [Staring  at  her]  You're  a  temptress ! 

Camille.  I  lofe  pleasure,  and  I  don't  get  any.  And 
you  'ave  such  a  duty,  you  don't  get  any  sport.  Well, 
I  am  'ere ! 

She  stretches  herself,  and  Builder  utters   a 
deep  sound. 

Builder.  [On  the  edge  of  succumbing]  It's  all  against 
my — ^I  won't  do  it !    It's — it's  wrong ! 

Camille.  Oh !    La,  la ! 

Builder.  [Suddenly  revolting]  No!  If  you  thought 
it  a  sin — ^I — might.  But  you  don't;  you're  nothing  but 
a — ^a  little  heathen. 

Camille.  Why  should  it  be  better  if  I  thought  it 
a  sin? 

Builder.  Then — ^then  I  should  know  where  I  was. 
As  it  is 


Acrn  A  FAMILY  MAN  65 

Camille.  The  English  'ave  no  idea  of  pleasure. 
They  make  it  all  so  coarse  and  virtuous. 

Builder.  Now,  out  you  go  before  I !    Go  on! 

He  goes  over  to  the  door  and  opens  il.    His  wife 
is  outside  in  a  hat  and  coat.     She  comes  in. 
[StamTnering]  Oh !    Here  you  are — ^I  wanted  you. 

Camille,  taking  up  the  tray,  goes  out  Leftt 
sicinging  her  hips  a  very  litUe. 

Builder.  Going  out? 

Mrs.  Builder.  Obviously. 

Builder.  Where? 

Mrs.  Builder.  I  don't  know  at  present. 

Builder.  I  wanted  to  talk  to  you  about — Maud. 

Mrs.  Builder.  It  must  wait. 

Builder.  She's — she's  actually  gone  and 

Mrs.  Builder.  I  must  tell  you  that  I  happened  to 
look  in  a  minute  ago. 

Builder.  [In    absolute   dismay]  You !    You    what? 

Mrs.  Builder.  Yes.  I  will  put  no  obstacle  in  the 
way  of  your  pleasures. 

Builder.  [Aghast]  Put  no  obstacle?  What  do  you 
mean?  Julia,  how  can  you  say  a  thing  like  that? 
Why,  I've  only  just 

Mrs.  Builder.  Don't !    I  saw. 

Builder.  The  girl  fell  on  my  knees.  Julia,  she 
did.  She's — she's  a  little  devil.  I — I  resisted  her. 
I  give  you  my  word  there's  been  nothing  beyond  a 
kiss,  under  great  provocation.    I — I  apologise. 

Mrs.  Builder.  [Bows  her  head]  Thank  you!  I 
quite  understand.  But  you  must  forgive  my  feeling 
it  impossible  to  remain  a  wet  blanket  any  longer. 


66  A  FAMILY  MAN  act  n 

BmLDER.  What!  Because  of  a  little  thmg  like 
that — all  over  in  two  minutes,  and  I  doing  my  utmost. 

Mrs.  Builder.  My  dear  John,  the  fact  that  you 
had  to  do  your  utmost  is  quite  enough.  I  feel  con- 
tinually humiliated  in  your  house,  and  I  want  to 
leave  it — quite  quietly,  without  fuss  of  any  kind. 

Builder.  But — my  God!  Julia,  this  is  awful — 
it's  absurd !  How  can  you  ?  I'm  your  husband. 
Really — your  saying  you  don't  mind  what  I  do — it's 
not  right;  it's  immoral ! 

Mrs.  Builder.  I'm  afraid  you  don't  see  what  goes 
on  in  those  who  live  with  you.  So,  I'll  just  go.  Don't 
bother ! 

Builder.  Now,  look  here,  Julia,  you  can't  mean 
this  seriously.  You  can't !  Think  of  my  position ! 
You've  never  set  yourself  up  against  me  before. 

Mrs.  Builder.  But  I  do  now. 

Builder.  [After  staring  at  her]  I've  given  you  no 
real  reason.  I'll  send  the  girl  away.  You  ought  to 
thank  me  for  resisting  a  temptation  that  most  men 
would  have  yielded  to.  After  twenty-three  years  of 
married  life,  to  kick  up  like  this — ^you  ought  to  be 
ashamed  of  yourself. 

Mrs.  Builder.    I'm  sure  you  must  think  so. 

Builder.  Oh !  for  heaven's  sake  don't  be  sarcastic ! 
You're  my  wife,  and  there's  an  end  of  it;  you've  no 
legal  excuse.     Don't  be  absurd ! 

Mrs.  Builder.    Good-bye ! 

Builder.  D'you  realise  that  you're  encouraging  me 
to  go  wrong?  That's  a  pretty  thing  for  a  wife  to  do. 
You  ought  to  keep  your  husband  straight. 


Acrn  A  FAMILY  MAN  67 

Mks.  Builder.  How  beautifully  put! 

BmLDEK.  [Almost  pathetically]  Don't  rile  me,  Julia! 
I've  had  an  awful  day.  First  Athene — then  Maud — 
then  that  girl — and  now  you !  All  at  once  like  this ! 
Like  a  swarm  of  bees  about  one's  head.  [Pleading] 
Come,  now,  Julia,  don't  be  so — so  impracticable ! 
You'll  make  us  the  laughing-stock  of  the  whole  town. 
A  man  in  my  position,  and  can't  keep  his  own  family; 
it's  preposterous ! 

Mbs.  BuiLiDEK.  Your  own  family  have  lives  and 
thoughts  and  feelings  of  their  own. 

Builder.  Oh!  This  damned  Woman's  business! 
I  knew  how  it  would  be  wien  we  gave  you  the  vote. 
You  and  I  are  married,  and  our  daughters  are  our 
daughters.  Come,  Julia.  Where's  your  common- 
sense  .'*  After  twenty-three  years !  You  know  I  can't 
do  without  you ! 

Mrs.  Builder.  You  could — quite  easily.  You  can 
tell  people  what  you  like. 

Builder.  My  God!  I  never  heard  anything  so 
immoral  in  all  my  life  from  the  mother  of  two  grown- 
up girls.  No  wonder  they've  turned  out  as  they 
have!    What  is  it  you  want,  for  goodness  sake? 

Mrs.  Builder.  We  just  want  to  be  away  from  you, 
that's  all.  I  assure  you  it's  best.  When  you've 
shown  some  consideration  for  our  feelings  and  some 
real  sign  that  we  exist  apart  from  you — we  could  be 
friends  again — perhaps — I  don't  know. 

Builder.  Friends!  Good  heavens!  With  one's 
own  wife  and  daughters!  [Wiih  great  earnestness] 
Now,  look  here,  Julia,  you  haven't  lived  with  me 


68  A  FAMILY  MAN  acth 

all  this  time  without  knowing  that  I'm  a  man  of 
strong  passions;  I've  been  a  faithful  husband  to  you — 
yes,  I  have.  And  that  means  resisting  all  sorts  of 
temptations  you  know  nothing  of.  If  you  withdraw 
from  my  society  I  won't  answer  for  the  consequences. 
In  fact,  I  can't  have  you  withdrawing.  I'm  not 
going  to  see  myself  going  to  the  devil  and  losing  the 
good  opinion  of  everybody  round  me.  A  bargain's  a 
bargain.  And  until  I've  broken  my  side  of  it,  and  I 
tell  you  I  haven't — you've  no  business  to  break  yours. 
That's  flat.    So  now,  put  all  that  out  of  your  head. 

Mrs.  Builder.  No. 

Builder.  [Intently]  D'you  realise  that  I've  sup- 
ported you  in  luxury  and  comfort? 

Mrs.  Builder.  I  think  I've  earned  it. 

Builder.  And  how  do  you  propose  to  live.'  I 
shan't  give  you  a  penny.  Come,  Julia,  don't  be  such 
an  idiot!  Fancy  letting  a  kiss  which  no  man  could 
have  helped,  upset  you  like  this ! 

Mrs.  Builder.  The  Camille,  and  the  last  straw ! 

Builder.  [Sharply]  I  won't  have  it.  So  now  you 
know. 

[But  Mrs.  Builder  has  very  swiftly  gone. 

Julia,  I  tell  you [The  outer  door  is  heard  being 

closed]  Damnation!  I  will  not  have  it!  They're  all 
mad !    Here — ^where's  my  hat  ? 

He  looks  distractedly  round  him,  wrenches  open 
the  door,  and  a  moment  later  the  street  door 
is  heard  to  shut  loith  a  bang. 
Curtain. 


ACT  m 


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ACT  III 

SCENE  I 

Ten  o'clock  the  folhwing  morning,  in  the  study  of  the 
Mayor  of  Breconridge,  a  panelled  room  with  no 
window  visible,  a  door  Left  hack  and  a  door  Right 
forward.  The  entire  hack  wall  is  furnished  with 
books  from  floor  to  ceiling;  the  other  zcalls  are 
panelled  and  hare.  Before  the  fireplace.  Left,  are 
two  armchairs,  and  other  chairs  are  against  the 
toalls.  On  the  Right  is  a  writing-bureau  at  right 
angles  to  the  footlights,  icith  a  chair  behind  it.  At 
its  hack  comer  stands  Habris,  telephoning. 

Harris.  Wh&t— {Pause]  Well,  it's  infernally  awk- 
ward, Sergeant.  .  .  .  The  Mayor's  in  a  regular 
stew.  .  .  .  [Listens]  New  constable?  I  should  think 
so !  Young  fool !  Look  here,  Martin,  the  only  thing 
to  do  is  to  hear  the  charge  here  at  once.  I've  sent  for 
Mr.  Chan  trey;  he's  on  his  way.  Bring  Mr.  Builder 
and  the  witnesses  round  sharp.  See  ?  And,  I  say,  for 
God's  sake  keep  it  dark.    Don't  let  the  Press  get  on  to 

it.    Why  you  didn't  let  him  go  home !    Black 

eye?    The  constable?    Well,  serve  him  right.    Blun- 
dering young  ass!    I  mean,  it's  undermining  all  au- 
71 


72  A  FAMILY  MAN  act  m 

thority.  .  .  .    Well,   you   oughtn't — at   least,   I  .  .  . 

Damn  it  all ! — it's  a  nine  days'  wonder  if  it  gets  out ! 

All  right !  As  soon  as  you  can.  [He  hangs  up  the  re- 
ceiver, puis  a  second  chair  behind  tlie  bureau,  and  other 
chairs  facing  it.]  [To  himself]  Here's  a  mess  !  Johnny 
BuiLDEB,  of  all  men !    What  price  Mayors ! 

[The  telephone  rings. 
Hallo?  .  .  .  Poaching  charge?  Well,  bring  him  too; 
only,  I  say,  keep  him  back  till  the  other's  over.  By 
the  way,  Mr.  Chantrey's  going  shooting.  He'll  want 
to  get  off  by  eleven.    What  ?  .  .  .    Righto ! 

As  he  hangs  up  the  receiver  the  Mayor  enters. 
He  looks  worried,  and  is  still  dressed  with  the 
indefinable  lorongness  of  a  burgher. 

Mator.  Well,  'Arris? 

Harris.  They'll  be  over  in  five  minutes,  Mr.  Mayor. 

Mayor.  Mr.  Chantrey? 

Harris.  On  his  way,  sir. 

Mayor.  I've  had  some  awkward  things  to  deal 
with  in  my  time,  'Arris,  but  this  is  just  about  the 
[Snijffs]  limit. 

Harris.  Most  uncomfortable,  sir;  most  imcom- 
f ortable ! 

Match.  Put  a  book  on  the  chair,  'Arris;  I  like  to 
sit  'igk 

Harris  puis  a  volume  of  Encyclopaedia   on 
the  Mayor's  chair  behind  the  bureau. 
[Deeply]  Our  fellow-magistrate!     A  family  man!     In 
my  shoes  next  year.    I  suppose  he  won't  be,  now. 
You  can't  keep  these  things  dark. 


sc.i  A  FAMILY  MAN  73 

Harris.  I've  warned  Martin,  sir,  to  use  the  utmost 
discretion.     Here's  Mr.  Chantrey. 

By  the  door  Left,  a  pleasant  and  comely  gentle- 
man has  entered,  dressed  toiih  ivdefinable 
Tightness  in  shooting  clothes. 

Mayor.  Ah,  Chantrey ! 

Chantrey.  How  de  do,  Mr.  Mayor.?  [Nodding  to 
Harris]  This  is  extraordinarily  unpleasant. 

[The  Mayor  nods. 
What  on  earth's  he  been  doing? 

Harris.  Assaulting  one  of  his  own  daughters  with 
a  stick;  and  resisting  the  police. 

Chantrey.  [With  a  low  whisUe]  Daughter!  Charity 
begins  at  home. 

Harris.  There's  a  bkck  eye. 

Mayor.  Whose? 

Harris.  The  constable's. 

Chantrey.  How  did  the  police  come  into  it? 

Harris.  I  don't  know,  sir.  The  worst  of  it  is  he's 
been  at  the  police  station  since  four  o'clock  yesterday. 
The  Superintendent's  away,  and  Martin  never  will 
take  responsibility. 

Chantrey.  By  George!  he  will  be  mad.  John 
Builde -'s  a  choleric  fellow. 

Max-or.  [Nodding]  He  is.  'Ot  temper,  and  an  'igh 
sense  of  duty. 

Harris.  There's  one  other  charge,  Mr,  Mayor — 
|>oaching.    I  told  them  to  keep  that  back  till  after. 

Chantrey.  Oh,  well,  we'll  make  short  work  of 
that.    I  want  to  get  oflf  by  eleven,  Harris.    I  shall 


74  A  FAMILY  MAN  Acrm 

be  late  for  the  first  drive  anyway.    John  Builder! 

I  say,  Mayor — but  for  the  grace  of  God,  there  go  we ! 

Mayor.  Harris,  go  out  and  bring  them  in  yourself; 

don't  let  the  servants [Harris  goes  out  Left. 

The  Mayor  takes  the  upper  chair  behind  the 
bureau,  sitting  rather  higher  because  of  the 
book  than  Chantrey,  who  takes  the  lower. 
Now  thai  they  are  in  the  seats  of  justice,  a 
sort  of  reticence  falls  on  them,  as  if  they 
were  afraid,  of  giving  away  their  attitudes 
of  mind  to  some  unseen  presence. 
Mayor.  [Suddenly]  H'm! 

Chantrey.  Touch  of  frost.    Birds  ought  to  come 
well  to  the  guns — ^no  wind.    I  like  these  October  days. 
Mayor.  I  think  I  'ear  them.    H'm. 

Chantrey  drops  his  eyeglass  and  puis  on  a 
pair  of  "grandfather"  spectacles.  The 
Mayor  clears  his  throat  and  takes  up  a 
pen.  They  neither  of  them  look  up  as  the 
door  is  opened  and  a  little  procession  files 
in.  First  Harris;  then  Ralph  Builder, 
Athene,  Herringhame,  Maud,  Mrs. 
Builder,  Sergeant  Martin,  carrying  a 
heavy  Malacca  cane  with  a  silver  knob; 
John  Builder  and  the  Constable  Moon» 
a  young  man  with  one  black  eye.  No 
funeral  was  ever  attended  by  myites  so  solemn 
and  dejected.  They  stand  in  a  sort  of  row. 
Matob.  [Without  looking  up]  Sit  down,  ladies;  sit 


8C.I  A  FAMILY  MAN  75 

Harris  and  Herhinghame  succeed  in  plac- 
ing the  three  women  in  chairs.  Ralph 
Builder  also  sits.  Herhinghame  stands 
behind.  John  Builder  remains  standing 
between  the  Two  Policemen.  His  face 
is  unshaved  and  menacing,  but  he  standa 
erect  staring  straight  at  the  Mayor.  Harris 
goes  to  tJie  side  of  the  bureau.  Back,  to  take 
down  the  evidence. 
Mayor.  Charges! 

Sergeant.  John  Builder,  of  The  Cornerways, 
Breconridge,  Contractor  and  Justice  of  the  Peace, 
charged  with  assaulting  his  daughter  Maud  Builder 
by  striking  her  with  a  stick  in  the  presence  of  Con- 
stable Moon  and  two  other  persons;  also  with  resisting 
Constable  Moon  in  the  execution  of  his  duty,  and 
injuring  his  eye.    Constable  Moon ! 

Moon.  [Stepping  forward — one,  two — like  an  atdoTJV- 
aton,  and  saluting]  In  River  Road  yesterday  after- 
noon. Your  Worship,  about  three-thirty  p.m.,  I  was 
attracted  by  a  young  woman  callin'  "Constable" 
outside  a  courtyard.  On  hearing  the  words  "Follow 
me,  quick,"  I  followed  her  to  a  painter's  studio  inside 
the  courtyard,  where  I  foimd  three  jjersons  in  the  act 
of  disagreement.  No  sooner  'ad  I  appeared  than  the 
defendant,  who  was  engaged  in  draggin'  a  woman 
towards  the  door,  turns  to  the  young  woman  who 
accompanied  me,  with  violence.  "You  dare,  father," 
she  says;  whereupon  he  hit  her  twice  with  the  stick 
the  same  which  is  produced,  in  the  presence  of  myself 


76  A  FAMILY  MAN  act  in 

and  the  two  other  persons,  which  I'm  given  to  under- 
stand is  his  wife  and  other  daughter. 

Mayor.  Yes;   never  mind   what  you're   given   to 
understand. 

Moon.  No,  sir.  The  party  struck  turns  to  me  and 
says,  "Come  in.  I  give  this  man  in  charge  for  assault." 
I  moves  accordingly  with  the  words:  "I  saw  you. 
Come  along  with  me."  The  defendant  turns  to  me 
sharp  and  says:  "You  stupid  lout — ^I'm  a  magistrate." 
"Come  off  it,"  I  says  to  the  best  of  my  recollection. 
"You  struck  this  woman  in  my  presence,"  I  says, 
"and  you  come  along!"  We  were  then  at  close 
quarters.  The  defendant  gave  me  a  push  with  the 
words  "Get  out,  you  idiot!"  "Not  at  all,"  I  replies, 
and  took  'old  of  his  arm.  A  struggle  ensues,  in  the 
course  of  which  I  receives  the  black  eye  which  I  here- 
with produce.  [He  touches  his  eye  with  awful  solemnity. 
The  Mayor  clears  his  throat;  Chantrey's 
eyes  goggle;  Harris  hends  over  and  writes 
rapidly. 
During  the  struggle.  Your  Worship,  a  young  man  has 
appeared  on  the  scene,  and  at  the  instigation  of  the 
young  woman,  the  same  who  was  assaulted,  assists 
me  in  securing  the  prisoner,  whose  language  and 
resistance  was  violent  in  the  extreme.  We  placed 
him  in  a  cab  which  we  found  outside,  and  I  conveyed 
him  to  the  station. 

Chantrey.  What  was  his — er — conduct  in  the — 
er — cab? 

Moon.  He  sat  quiet. 


8C.I  A  FAMILY  MAN  77 

Chantkey.  That  seems 

Moon.  Seein'  I  had  his  further  arm  twisted  behind 
him. 

Mayor.  [Looking  at  Builder]  Any  questions  to  ask 
him? 

Builder  makes  not  the  faintest  sign,  and  the 
Mayor  drops  his  glance. 
Mayor.  Sergeant.? 

Moon  steps  back  two  paces,  and  the  Sergeant 
steps  two  paces  forward. 
Sergeant.  At  ten  minutes  to  four,  Yoiu*  Worship, 
yesterday  afternoon.  Constable  Moon  brought  the 
defendant  to  the  station  in  a  four-wheeled  cab.  On 
his  recounting  the  circumstances  of  the  assault,  they 
were  taken  down  and  read  over  to  the  defendant  with 
the  usual  warning.  The  defendant  said  nothing. 
In  view  of  the  double  assault  and  the  condition  of 
the  constable's  eye,  and  in  the  absence  of  the  Sup)erin- 
tendent,  I  thought  it  my  duty  to  retain  the  defendant 
for  the  night. 

Mayor.  The  defendant  said  nothing  ? 
Sergeant.  He  'as  not  opened  his  lips  to  my  knowl- 
edge. Your  Worship,  from  that  hour  to  this. 
Mayor.  Any  questions  to  ask  the  Sergeant? 

Builder  continues  to  stare  at  the  Mayor  with- 
out a  toord. 
Mayor.  Very  well ! 

The  Mayor  and  Chantrey  now  considt  each 
other  inaudihly,  and  the  Mayor  nods. 


78  A  FAMILY  MAN  acthi 

Mayor.  Miss  Maud  Builder,  will  you  tell  us  what 
you  know  of  this — er — occourrence? 

Maud.  [Rising;  icith  eyes  turning  Iiere  and  there] 
Must  I? 

Mayor.  I'm  afraid  you  must. 

Maud.  [After  a  look  at  her  father,  who  never  turns 
his  eyes  from  the  Mayor's  face]  I — ^I  wish  to  with- 
draw the  charge  of  striking  me,  please.  I — ^I  never 
meant  to  make  it.     I  was  in  a  temper — ^I  saw  red. 

Mayor.  I  see.  A — a  domestic  disagreement.  Very 
well,  that  charge  is  withdrawn.  You  do  not  appear 
to  have  been  hiu-t,  and  that  seems  to  me  quite  proper. 
Now,  tell  me  what  you  know  of  the  assault  on  the 
constable.     Is  his  account  correct  ? 

Maud.  [Timidly]  Ye-yes.    Only 

Mayor.  Yes?    Tell  us  the  truth. 

Maud.  [Resolutely]  Only,  I  don't  think  my  father 
hit  the  constable.     I  think  the  stick  did  that. 

Mayor.  Oh,  the  stick.?  But — er — ^the  stick  was  in 
'is  'and,  wasn't  it? 

Maud.  Yes;  but  I  mean,  my  father  saw  red,  and 
the  constable  saw  red,  and  the  stick  flew  up  between 
them  and  hit  him  in  the  eye. 

Chantrey.  And  then  he  saw  black  ? 

Mayor.  [With  corredvoe  severity]  But  did  'e  'it  *im 
with  the  stick  ? 

Maud.  No-no.    I  don't  think  he  did. 

Mayor.  Then  who  supplied  the — er — momentum? 

Maud.  I  think  there  was  a  struggle  for  the  cane, 
and  it  flew  up. 


Bc.i  A  FAMILY  MAN  79 

Mayor.  Hand  up  the  cane. 

The  Sergeant  hands  up  the  cane.  The 
Mayor  and  Chantrey  examine  it. 

Mayor.  Which  end — do  you  suggest — inflicted  this 
injury  ? 

Maud.  Oh !  the  knob  end,  sir. 

Mayor.  What  do  you  say  to  that,  constable  ? 

Moon.  [Stepping  the  mechanical  two  paces]  I  don't 
deny  there  was  a  struggle.  Your  Worship,  but  it's 
my  impression  I  was  'it. 

Chantrey.  Of  course  you  were  hit;  we  can  see 
that.    But  with  the  cane  or  with  the  fist  ? 

Moon.  [A  little  flurried]  I — I — ^with  the  fist,  sir. 

Mayor.  Be  carefid.    Will  you  swear  to  that? 

Moon.  [Wiih  that  sudden  uncertainty  which  comes 
over  the  mast  honest  in  such  circumstances]  Not — ^not 
so  to  speak  in  black  and  white.  Your  Worship;  but 
that  was  my  idea  at  the  time. 

Mayor.  You  won't  swear  to  it.' 

Moon.  I'll  swear  he  called  me  an  idiot  and  a  lout; 
the  words  made  a  deep  impression  on  me. 

Chantrey.  [To  himself]  Mart  aujc  vaches! 

Mayor.  Eh?  That'll  do,  constable;  stand  back. 
Now,  who  else  saw  the  struggle?  Mrs.  Builder. 
You're  not  obliged  to  say  anything  unless  you  like. 
That's  your  privilege  as  his  wife. 

While  he  is  speaking  the  door  has  been  opened, 
and  Harris  has  gone  swiftly  to  it,  spoken 
to  someone  and  returned.  He  leans  forward 
to  the  Mayor. 


80  A  FAMILY  MAN  actui 

Eh?    Wait  a  minute.    Mrs.  Builder,  do  you  wish  to 
give  evidence? 
Mbs.  Buildeb.  [Rising]  No,  Mr.  Mayor. 

[Mrs.  Builder  sits. 
Mayor.  Very  good.  [To  Harris]  Now  then,  what 
is  it? 

Harris  says  something  in  a  low  and  concerned 
voice.  The  Mayor's  face  lengthens.  He 
leans  to  his  right  and  considts  Chantrey, 
who  gives  a  faint  and  deprecating  shrug.  A 
moment's  silence. 
Mayor.  This  is  an  open  Court.  The  Press  have 
the  right  to  attend  if  they  wish. 

Harris  goes  to  the  door  and  admits  a  young 
mxin  in  glasses,  of  a  pleasant  C.3  appear- 
ance, and  indicates  to  him  a  chair  at  the  hack. 
At  this  untimely  happening  Builder's  eyes 
have  Tnoved  from  side  to  side,  but  now  he 
regains  his  intent  and  bidl-like  stare  at  his 
fellow- justices. 
Mayor.  [To  Maud\  You  can  sit  down,  Miss  Builder. 

[Maud  resumes  her  seat. 
Miss  Athene  Builder,  you  were  present,  I  think  ? 
Athene.  [Rising]  Yes,  sir. 
Mayor.  What  do  you  say  to  this  matter? 
Athene.  I  didn't  see  anything  very  clearly,  but  I 
think  my  sister's  account  is  correct,  sir. 

Mayor.  Is  it  your  impression   that  the  cane  in- 
flicted the  injury? 
Athene.  [In  a  low  voice]  Yes. 


sc.i  A  FAMILY  MAN  81 

Mayor.  With  or  without  deliberate  intent? 
Athene.  Oh!  without. 

[Builder  looks  at  her. 
Mayor.  But  you  were  not  in  a  position  to  see  very 
weU? 
Athjeni^  No,  sir. 

Mayor.  Your  sister  having  withdrawn  her  charge, 
we  needn't  go  into  that.    Very  good ! 

[He  motions  her  to  sit  down. 
Athene,   turning  her  eyes  on   her  Father's 
impassive  figure,  sits. 
Mayor.  Now,  there  was  a  young  man.    [Pointing 
to  Herringhame]  Is  this  the  young  man? 
Moon.  Yes,  Your  Worship. 
Mayor.  What's  your  name? 
Guy.  Guy  Herringhame. 
Mayor.  Address? 
Guy.  Er — ^the  Aerodrome,  sir. 
Mayor.  Private,  I  mean  ? 

[The  moment  is  one  of  considerable  tension. 
Guy.  [With  an  effort]  At  the  moment,  sir,  I  haven't 
one.    I've  just  left  my  diggings,  and  haven't  yet  got 
any  others. 

Mayor.  H'm!    The    Aerodrome.    How    did    you 
come  to  be  present? 

Guy.  I — er 

Builder's  eyes  go  round  and  rest  on  him  for 
a  moment. 
It's  in  my  sister's  studio  that  Miss  Athene  Builder 


82  A  FAMILY  MAN  act  m 

is  at  present  working,  sir.    I  just  happened  to — to 
turn  up. 

Mayor.  Did  you  appear  on  the  scene,  as  the  con- 
stable says,  during  the  struggle? 

Guy.  Yes,  sir. 

Mayor.  Did  he  summon  you  to  his  aid? 

Guy.  Ye No,  sir.    Miss  Maud  Builder  did  that. 

Mayor.  What  do  you  say  to  this  blow  ? 

Guy.  [Jerking  his  chin  up  a  little]  Oh !  I  saw  that 
clearly. 

Mayor.  Well,  let  us  hear. 

Guy.  The  constable's  arm  struck  the  cane  violently 
and  it  flew  up  and  landed  him  in  the  eye. 

Mayor.  [With  a  little  grunt]  You  are  sure  of  that? 

Guy.  Quite  sure,  sir. 

Mayor.  Did  you  hear  any  language  ? 

Guy.  Nothing  out  of  the  ordinary,  sir.  One  or 
two  damns  and  blasts. 

Mayor.  You  call  that  ordinary  ? 

Guy.  Well,  he's  a — magistrate,  sir. 

The  Mayor  utters  a  profound  grunt.  Chan- 
trey  smiles.  There  is  a  silence.  Then 
the  Mayor  leans  over  to  Chantrey  for  a 
short  colloquy. 

Chantrey.  Did  you  witness  any  particular  violence 
other  than  a  resistance  to  arrest? 

Guy.  No,  sir. 

Mayor.  [With  a  gesture  of  dismissal]  Very  well. 
That  seems  to  be  the  evidence.  Defendant  John 
Builder — ^what  do  you  say  to  all  this  ? 


sc.i  A  FAMILY  MAN  88 

Builder.  [In  a  voice  different  from  any  we  have 
heard  from  him]  Say !  What  business  had  he  to 
touch  me,  a  magistrate?  I  gave  my  daughter  two 
taps  with  a  cane  in  a  private  house,  for  interfering 
with  me  for  taking  my  wife  home 

Mayor.  That  charge  is  not  pressed,  and  we  can't 
go  into  the  circumstances.  What  do  you  wish  to  say 
about  your  conduct  towards  the  constable? 

Builder.  [In  his  throat]  Not  a  damned  thing ! 

Mayor.  [Embarrassed]  I — ^I  didn't  catch. 

Chantrey.  Nothing — nothing,  he  said,  Mr.  Mayor. 

Mayor.  [Clearing  his  throat]  I  understand,  then, 
that  you  do  not  wish  to  h'offer  any  explanation  ? 

BmLDER.  I  consider  myself  abominably  treated, 
and  I  refuse  to  say  another  word. 

Mayor.  [Drily]  Very  good.    Miss  Maud  Builder. 

[Maud  stands  up. 

Mayor.  When  you  spoke  of  the  defendant  seeing 
red,  what  exactly  did  you  mean  ? 

Maud.  I  mean  that  my  father  was  so  angry  that 
he  didn't  know  what  he  was  doing. 

Chantrey.  Would  you  say  as  angry  as  he — er — is 
now? 

Maud.  [With  a  faint  smile]  Oh !  much  more  angry. 
[Ralph  Builder  stands  up. 

Ralph.  Would  you  allow  me  to  say  a  word,  Mr. 
Mayor? 

Mayor.  Speaking  of  your  own  knowledge,  Mr. 
Builder? 

Ralph.  In   regard   to  the   state  of   my  brother '4 


84  A  FAMILY  MAN  actih 

mind — ^yes,  Mr.  Mayor.    He  was  undoubtedly  under 
great  strain  yesterday;  certain  circumstances,  domestic 

and  otherwise 

Mayor.  You  mean  that  he  might  have  been,  as 
one  might  say,  beside  himself? 
Ralph.  Exactly,  sir. 
Mayor.  Had  you  seen  your  brother? 
Ralph.  I  had  seen   him   shortly   before  this  un- 
happy business. 

The  Mayor  nods  and  makes  a  gesture,  so  tJiat 
Maud  and  Ralph  sit  down;  then,  lean- 
ing over,  he  confers  in  a  low  voice  with 
Chantrey.  The  rest  all  sit  or  stand  exactly 
as  if  eaxih  was  the  only  person  in  the  room, 
except  the  Journalist,  who  is  writing  busily 
and  rather  obviously  making  a  sketch  of 
Builder. 
Mayor.  Miss  Athene  Builder. 

[Athene  stands  up. 

This  young  man,  Mr.  Herringhame,  I  take  it,  is  a 

friend  of  the  family's  ?  [A  moment  of  some  tension. 

Athene.  N-no,  Mr.  Mayor,  not  of  my  father  or 

mother. 

Chantrey.  An  acquaintance  of  yours  ? 
Athene.  Yes. 

Mayor.  Very  good.  [He  clears  his  throat]  As  the 
defendant,  wrongly,  we  think,  refuses  to  offer  his 
explanation  of  this  matter,  the  Bench  has  to  decide 
on  the  h'evidence  as  given.  There  seems  to  be  some 
discrepancy  as  to  the  blow  which  the  constable  un- 


SCI  A  FAMILY  MAN  85 

doubtedly  received.    lu  view  of  this,  we  incline  to 

take  the  testimony  of  Mr. 

[Habris  'prompts  him. 
]Mr.  'Erringhame — ^as  the  party  least  inplicated  per- 
sonally in  the  affair,  and  most  likely  to  'ave  a  cool 
and  impartial  view.  That  evidence  is  to  the  effect 
that  the  blow  was  accidental.  There  is  no  doubt, 
however,  that  the  defendant  used  reprehensible  lan- 
guage, and  offered  some  resistance  to  the  constable  in 
the  execution  of  his  duty.  Evidence  'as  been  offered 
that  he  was  in  an  excited  state  of  mind;  and  it  is 
possible — ^I  don't  say  that  this  is  any  palliation — but  it 
is  possible  that  he  may  have  thought  his  position  as 

magistrate  made  him — er 

Chantret.  [Prompting]  Caesar's  wife. 
Mayor.  Eh.-*    We   think,  considering  all  the  cir- 
cumstances, and  the  fact  that  he  has  sj>ent  a  night 
in  a  cell,  that  justice  will  be  met  by — er — discharging 
him  with  a  caution. 
Builder.  [With  a  deeply  muttered]  The  devil  you  do ! 
Walks   out   of  the   room.     The   Journalist, 
grabbing   his   pad,   starts   up   and  follows. 
The  Builders  rise  and  huddle,  and,  with 
Herringhame,  are  ushered  out  by  Harris- 
Mayor.  [Pulling  out  a  large  handkerchief  and  wiping 
his  forehead]  My  Aunt ! 

Chantrey.  These  new  constables.  Mayor!  I  say, 
Builder'U  have  to  go!  Damn  the  Press,  how  they 
nose  everything  out!  The  Great  Unpaid! — ^We  shall 
get  it  again !  [He  suddenly  goes  off  into  a  fit  of  laughter] 


86  A  FAMILY  MAN  act  in 

"Come  oflf  it,"  I  says,  "to  the  best  of  my  recollection." 
Oh !  Oh !  I  shan't  hit  a  bird  all  day !  That  poor  devil 
Builder!  It's  no  joke  for  him.  You  did  it  well. 
Mayor;  you  did  it  well.  British  justice  is  safe  in  your 
hands.  He  blacked  the  fellow's  eye  all  right.  "Which 
I  herewith  produce."  Oh!  my  golly!  It  beats  the 
band!. 

His  uncontrollable  laughter  and  the  Mayor's 
rueful  appreciation  are  exchanged  vnth 
lighinhig  rapidity  for  a  preternatural  solem- 
nity, as  the  door  opens,  admitting  Sergeant 
Martin  and  the  Iv^ubriou^  object  of  their 
next  attentions. 
Mayor.  Charges. 

Sergeant  steps  forward  to  read  the  charge  as 

The  Curtain /o/fc. 


SCENE  n 

Noon  the  same  day. 

Builder's  study.    Topping  is  standing  by  the  open 
toindow,  looking  up  and  dovm  the  street.    A  news- 
paper boy^s  voice  is  heard  calling  the  first  edition 
of  his  wares.    It  approaches  from  the  Right. 
Topping.  Here! 

Boy's  Voice.  Right,  guv'nor!    Johnny  Builder  up 
before  the  beaks ! 

[A  paper  is  pushed  up. 


sc.  II  A  FAMILY  MAN  87 

Topping.  [Extending  a  penny]  What's  that  you're 
sayin'  ?    You  take  care ! 

Boy's  Voice.  It's  all  'ere.     Johnny  Builder— beatin' 
his  wife !    Dischawged. 
Topping.  Stop  it,  you  young  limb ! 
Boy's  Voice.  'Alio!    What's  the  matter  wiv  you? 
Why,   it's  Johnny  Builder's  house!  [Gives  a  cat-call\ 
'Ere,  buy  anuwer!     'E'll  want  to  read  about  'isself. 
[Appealing]  Buy  anuwer,  guv'nor ! 
Topping.  Move  on ! 

He  retreats  from  the  window,  opening  the  paper. 
Boy's   Voice.  [Receding]  Payper!      First   edition! 
J.P.  chawged !    Payper ! 

Topping.  [To  himself  as  he  reads]  Crimes !    Phew ! 
That  accounts  for  them  bein'  away  all  night. 

While  he  is  reading,  Camille  enters  from  the 
haU. 
Here !    Have  you  seen  this.  Camel— in  the  Stop  Press  ? 
Camille.  No. 

[They  read  eagerly  side  by  side. 
Topping.  [Finishing  aloud]  "Tried  to  prevent  her 
father  from  forcing  her  mother  to  return  home  with 
him,  and  he  struck  her  for  so  doiug.  She  did  not 
press  the  charge.  The  arrested  gentleman,  who  said 
he  acted  under  great  provocation,  was  discharged 
with  a  caution."  Well,  I'm  blowed!  He  has  gone 
and  done  it ! 
Camille.  A  black  eye ! 

Topping.  [Gazing  at  her]  Have  you  had  any  hand 
in  this  ?  I've  seen  you  making  your  lovely  black  eyes 
at  him.    You  foreigners — ^you're  a  loose  lot ! 


88  A  FAMILY  MAN  actiii 

Camillb.  You  are  drunk ! 

Topping.  Not  yet,  my  dear.  [Reverting  to  the  paper ; 
philosophically]  Well,  this  little  lot's  bust  up!  The 
favourites  will  fall  down.  Johnny  Builder!  Who'd 
have  thought  it  ? 

Camille.  He  is  an  obstinate  man. 

Topping.  Ah!  He's  right  up  against  it  now. 
Comes  of  not  knowin'  when  to  stop  bein'  firm.  If 
you  meet  a  wall  with  your  'ead,  it's  any  odds  on  the 
wall.  Camel.  Though,  if  you  listened  to  some,  you 
wouldn't  thmk  it.  What'll  he  do  now,  I  wonder? 
Any  news  of  the  mistress? 

Camille.  [Shaking  her  head]  I  have  pack  her 
tr-runks. 

Topping.  Why? 

Camille.  Because  she  take  her  jewels  yesterday. 

Topping.  Deuce  she  did!  They  generally  leave 
'em.  Take  back  yer  gifts!  She  throws  the  baubles 
at  'is  'ead.  [Again  staring  at  her]  You're  a  deep  one, 
you  know ! 

[There  is  the  sound  of  a  cab  stopping. 
Wonder  if  that's  him !  [He  goes  towards  the  hall. 

Camille  watchftdly  shifts  towards  the  dining- 
roam  door.    Maud  enters. 

Maud.  Is  my  father  back.  Topping? 

Topping.  Not  yet,  Miss. 

Maud.  I've  come  for  mother's  things. 

Camille.  They  are  r-ready. 

Maud.  [Eyeing  her]  Topping,  get  them  down,  please. 
Topping,  after  a  look  at  them  both,  goes  out 
into  the  hail. 


sc.n  A  FAMILY  MAN  89 

Very  clever  of  you  to  have  got  them  ready. 

Camtlle.  I  am  clevare. 

Maxtd.  [Almost  to  herself]  Yes — ^father  may,  and  he 
may  not. 

CxMiUiE.  Look!  If  you  think  I  am  a  designing 
woman,  you  are  mistook.  I  know  when  things  are 
too  'ot.     I  am  not  sorry  to  go. 

Maud.  Oh !  you  are  going  ? 

Camille.  Yes,  I  am  going.  How  can  I  stay  when 
there  is  no  lady  in  the  'ouse.'' 

Maud.  Not  even  if  you're  asked  to? 

Camille.  Who  will  ask  me  ? 

Maud.  That  we  shall  see. 

Camille.  Well,  you  will  see  I  have  an  opinion  of 
my  own. 

Maud.  Oh !  yes,  you're  clear-headed  enough. 

Camille.  I  am  not  arguing.    Good-morning ! 

[Exits  up  Left. 
Maud  regards  her  stolidly  as  she  goes  out  into 
the  dining-room,  then  takes  up  the  paper 
and  reads. 

Maud.  Horrible! 

[Topping  re-enters  from  the  haU. 

Topping.  I've  got  'em  on  the  cab.  Miss.  I  didn't 
put  your  ten  bob  on  yesterday,  because  the  animal 
finished  last.     You  can't  depend  on  horses. 

Maud.  [Touching  the  newspaper]  This  is  a  frightful 
business,  Topping. 

Topping.  Ah !    However  did  it  happen,  Miss  Maud  ? 

Maud.  [Tapping  the  newspaper]  It's  all  true.  He 
came  after  my  mother  to  Miss  Athene's,  and  I — ^I 


90  A  FAMILY  MAN  act  m 

couldn't  stand  it.  I  did  what  it  says  here;  and  now 
I'm  sorry.  Mother's  dreadfully  upset.  You  know 
father  as  well  as  anyone.  Topping;  what  do  you  think 
he'll  do  now  ? 

Topping.  [Sucking   in   his   cheeks]  Well,    you    see. 
Miss,  it's  like  this:  Up  to  now  Mr.  Builder's  always 

had  the  respect  of  everybody 

[Maud  moves  her  head  impatienily. 
outside  his  own  house,  of  course.  Well,  now  he  hasn't 
got  it.     Pishchologically  that's  bound  to  touch  him. 

Maud.  Of  course;  but  which  way?  Will  he  throw 
up  the  sponge,  or  try  and  stick  it  out  here.'' 

Topping.  He  won't  throw  up  the  sponge.  Miss; 
more  likely  to  squeeze  it  down  the  back  of  their  necks. 

]VIaud.  He'll  be  asked  to  resign,  of  course. 

The  Newspaper  Boy's  Voice  is  heard  again 
approaching:  "First  edition!     Great  sensa- 
tion I     Local   magistrate   before   the   Bench! 
Pay -per!" 
Oh,   dear!    I   wish   I   hadn't!    But  I   couldn't   see 
mother  being 

Topping.  Don't  you  fret.  Miss;  he'll  come  through. 
His  jaw's  above  his  brow,  as  you  might  say. 

Maud.  What? 

Topping.  [Nodding]  Phreenology,  Miss.  I  rather 
follow  that.  When  the  jaw's  big  and  the  brow  is 
small,  it's  a  sign  of  character.  I  always  think  the 
master  might  have  been  a  Scotchman,  except  for 
his  fishionomy. 

Maud.  A  Scotsman? 


sc.u  A  FAMILY  MAN  91 

Topping.  So  down  on  anything  soft,  Miss.  Haven't 
you  noticed  whenever  one  of  these  'Umanitarians 
Vvrites  to  the  papers,  there's  always  a  Scotchman 
after  him  next  morning.  Seems  to  be  a  fact  of  'uman 
nature,  like  introducin'  rabbits  into  a  new  country 
and  then  weasels  to  get  rid  of  'em.  And  then  some- 
thing to  keep  down  the  weasels.  But  /  never  can  see 
what  could  keep  down  a  Scotchman!  You  seem  to 
reach  the  hapex  there ! 

Maud.  Miss  Athene  was  married  this  morning. 
Topping.    We've  just  come  from  the  Registrar's. 

Topping.  [Immovably]  Indeed,  Miss.  I  thought  per- 
haps she  was  about  to  be. 

Maud.  Oh! 

Topping.  Comin'  events.  I  saw  the  shadder  yester- 
day. 

Maud.  Well,  it's  all  right.  She's  coming  on  here 
with  my  uncle. 

[A  cab  is  heard  driving  up. 
That's  them,  I  expect.     We  all  feel  awful  about  father. 

Topping.  Ah!  I  shouldn't  be  surprised  if  he  feels 
awful  al>out  you.  Miss. 

Maud.  [At  the  vniidow]  It  is  them. 

Topping  goes  out  into  the  hall;  Athene  and 
Ralph  enter  Right. 

Maud.  Where's  father.  Uncle  Ralph? 

Ralph.  With  his  solicitor. 

Athene.  We  left  Guy  with  mother  at  the  studio. 
She  still  thinks  she  ought  to  come.  She  keeps  on 
saying  she  must,  now  father's  in  a  hole. 


92  A  FAMILY  MAN  Acrm 

Maud.  IVe  got  her  things  on  the  cab;  she  ought 
to  be  perfectly  free  to  choose. 

Ralph.  You've  got  freedom  on  the  brain,  Maud. 

Maud.  So  would  you.  Uncle  Ralph,  if  you  had 
father  about. 

Ralph.  I'm  his  partner,  my  dear. 

Maud.  Yes;  how  do  you  manage  him? 

Ralph.  I've  never  yet  given  him  in  charge. 

Athene.  What  do  you  do.  Uncle  Ralph  ? 

Ralph.  Undermine  him  when  I  can. 

Maud.  And  when  you  can't? 

Ralph.  Undermine  the  other  fellow.  You  can't 
go  to  those  movie  people  now,  Maud.  They'd  star 
you  as  the  celebrated  Maud  Builder  who  gave  her 
father  into  custody.  Come  to  us  instead,  and  have 
perfect  freedom,  till  all  this  blows  over. 

Maud.  Oh !  what  will  father  be  like  now  ? 

Athene.  It's  so  queer  you  and  he  being  brothers. 
Uncle  Ralph. 

Ralph.  There  are  two  sides  to  every  coin,  my 
dear.  John's  the  head — and  I'm  the  tail.  He  has 
the  sterling  qualities.  Now,  you  girls  have  got  to 
smooth  him  down,  and  make  up  to  him.  You've 
tried  him  pretty  high. 

Maud.  [Stubbornly]  I  never  wanted  him  for  a  father. 
Uncle. 

Ralph.  They  do  wonderful  things  nowadays  with 
inherited  trouble.  Come,  are  you  going  to  be  nice  to 
him,  both  of  you  ? 

Athene.  We're  gomg  to  try. 


Bc.n  A  FAMILY  MAN  93 

Ralph.  Good!  I  don't  eren  now  understand  how 
it  happ»ened. 

Maud.  When  you  went  out  with  Guy,  it  wasn't 
three  minutes  before  he  came.  Mother  had  just 
told  us  about — ^well,  about  something  beastly.  Father 
wanted  us  to  go,  and  we  agreed  to  go  out  for  five 
minutes  while  he  talked  to  mother.  We  went,  and 
when  we  came  back  he  told  me  to  get  a  cab  to  take 
mother  home.  Poor  mother  stood  there  looking  like 
a  ghost,  and  he  began  hunting  and  hauling  her  towards 
the  door.  I  saw  red,  and  instead  of  a  cab  I  fetched 
that  policeman.  Of  com-se  father  did  black  his  eye. 
Guy  was  splendid. 

Athene.  You  gave  him  the  lead. 

Maud.  I  couldn't  help  it,  seeing  father  standing 
there  all  dumb. 

Athene.  It  was  awful!  Uncle,  why  didn't  you 
come  back  with  Guy? 

Maud.  Oh,  yes!  why  didn't  you.  Uncle? 

Athene.  When  Maud  had  gone  for  the  cab,  I 
warned  him  not  to  use  force.  I  told  him  it  was  against 
the  law,  but  he  only  said:  "The  law  be  damned  !" 

Ralph.  Well,  it  all  sounds  pretty  undignified. 

Maud.  Yes;  everybody  saw  red. 

They  have  not  seen  the  door  opened  from  the 
hall,  and  Builder  standing  there.  He  is 
stUl  unshaven,  a  little  sunken  in  the  face, 
toiih  a  glum,  glowering  expression.  He  has 
a  document  in  his  hand.  He  advances  a 
ttej)  or  tu>o  and  they  see  him. 


94  A  FAMILY  MAN  act  m 

Athene  and  Maud.  [Agfiast]  Father ! 

Builder.  Ralph,    oblige    me !    See    them    ofiF    the 

premises ! 

Ralph.  Steadj',  John ! 

Builder.  Go! 

Maud.  [Proudly]  All  right !    We  thought  you  might 

like  to  know  that  Athene's  married,  and  that  I've 

given  up  the  movies.    Now  we'll  go. 

Builder  turns  his  back  on  them,  and,  sitting 

down  at  his  tcriting-table,  torites. 

After  a  moment's  whispered  conversation  with 

their  Uncle,  the  two  girls  go  out. 

Ralph  Builder  stands  gazing  with  whimsical 

commiseration    at    his    brother's    back.    As 

Builder  finishes  writing,  he  goes  up  and 

puts  his  hand  on  his  brother's  shoulder. 

Ralph.  This  is  an  awful  jar,  old  man ! 

Builder.  Here's  what  I've  said  to  that  fellow: — 

"Mr.    Mayor, — You    had    the    effrontery    to-day 

to    discharge    me    toith    a    caution — forsooth! — your 

fellow-magistrate.     I've  consulted  my  solicitor  as  to 

whether  an  action  will  lie   for  false   imprisonment. 

I'm  informed  that  it  won't.    I  take  this  opportunity 

of  saying  that  justice  in  this  town  is  a  travesty.    I 

have  no  wish  to  be  associated  further  with  you  or 

your  fellows;  but  you  are  vastly  mistaken   if  you 

imagine  that  I  shall  resign  my  position  on  the  Bench 

or  the  Town  Council. — Yours,       .,  ^         _  „ 

John  Builder. 

Ralph.  I  say — ^keep  your  sense  of  humour,  old  boy. 


8c.n  A  FAMILY  MAN  95 

BuiLDEE.  [Grimly]  Humour?  I've  spent  a  night 
in  a  cell.  See  this!  [He  holds  out  the  document]  It 
disinherits  my  family. 

Ralph.  John! 

Builder.  I've  done  with  those  two  ladies.    As  to 

my  wife — if  she  doesn't  come  back !    When  I 

suffer,  I  make  others  suffer. 

Ralph.  Julia's  very  upset,  my  dear  fellow;  we  all 
are.    The  girls  came  here  to  try  and 

Builder.  [Rising]  They  may  go  to  hell!  If  that 
lousy  Mayor  thinks  I'm  done  with — ^he's  mistaken! 
[He  rings  the  heU]  I  don't  want  any  soft  sawder.  I'm 
a  fighter. 

Ralph.  [In  a  low  voice]  The  enemy  stands  within 
the  gate,  old  chap. 

Builder.  What's  that? 

Ralph.  Let's  boss  our  own  natures  before  we  boss 
those  of  other  people.  Have  a  sleep  on  it,  John, 
before  you  do  anything. 

Builder.  Sleep?  I  hadn't  a  wink  last  night.  If 
you'd  passed  the  night  I  had 

Ralph.  I  hadn't  many  myself. 

[Topping  enters. 

Builder.  Take  this  note  to  the  Mayor  with  my 
compliments,  and  don't  bring  back  an  answer. 

Topping.  Very  good,  sir.  There's  a  gentleman  from 
the  "Comet"  in  the  hall,  sir.  Would  you  see  him 
for  a  minute,  he  says. 

Builder.  Tell  him  to  go  to 

A  voice  says,  "Mr.  Builder  I"    Buildeb  turns 


96  A  FAMILY  MAN  Acrra 

to  see  the  figure  of  the  Journalist  in  the  hall 
doorway.    Topping  goes  out. 

JouBNALiBT.  [Advancing  with  his  card]  Mr.  Builder, 
it's  very  good  of  you  to  see  me.  I  had  the  pleasure 
this  morning — ^I  mean — ^I  tried  to  reach  you  when 
you  left  the  Mayor's.  I  thought  you  would  probably 
have  your  own  side  of  this  unfortunate  matter.  We 
shall  be  glad  to  give  it  every  prominence. 

Topping  has  wiihdravm,  and  Ralph  Builder, 
at  the  window,  stands  listening. 

Builder.  [Drily,  regarding  the  Journalist,  who  has 
spoken  in  a  pleasant  and  polite  voice]  Very  good  of 
you! 

Journalist.  Not  at  all,  sir.  We  felt  that  you 
would  almost  certainly  have  good  reasons  of  your 
own  which  would  put  the  matter  in  quite  a  different 
light. 

BxniiDER.  Good  reasons?  I  should  think  so!  I 
tell  you — a  very  little  more  of  this  liberty — licence  I 
call  it — and  there  isn't  a  man  who'll  be  able  to  call 
himself  head  of  a  family. 

Journalist.  [Encouragingly]  Quite! 

Builder.  If  the  law  thinks  it  can  back  up  revolt, 
it's  damned  well  mistaken.  I  struck  my  daughter — 
I  was  in  a  passion,  as  you  would  have  been. 

Journalist.  [Encouraging]  I'm  sure 

Builder.  [Glaring  at  him]  Well,  I  don't  know  that 
you  would;  you  look  a  soft  sort;  but  any  man  with 
any  blood  in  him. 

Journalist.  Can  one  ask  what  she  was  doing, 
sir  .J"    We  couldn't  get  that  point  quite  clear. 


sc.  n  A  FAMILY  MAN  97 

BxTiLDEB.  Doing?  I  just  had  my  arm  round  my 
wife,  tiying  to  induce  her  to  come  home  with  me 
after  a  little  family  tiff,  and  this  girl  came  at  me.  I 
lost  my  temper,  and  tapped  her  with  my  cane.  And — 
that  policeman  brought  by  my  own  daughter — ^a 
policeman !  If  the  law  is  going  to  enter  private  houses 
and  abrogate  domestic  authority,  where  the  hell  shall 
we  be? 

JouHNALisT.  [Encouraging]  No,  I'm  sure — ^I'm  sure ! 

Builder.  The  maudlin  sentimentality  in  these 
days  is  absolutely  rotting  this  country.  A  man 
can't  be  master  in  his  own  house,  can't  require  his 
wife  to  fulfil  her  duties,  can't  attempt  to  control  the 
conduct  of  his  daughters,  without  coming  up  against 
it  and  incurring  odium.  A  man  can't  control  his 
employees;  he  can't  put  hb  foot  down  on  rebellion 
anywhere,  without  a  lot  of  humanitarians  and  licence- 
lovers  howling  at  him. 

JouBNAUST.  Excellent,  sir;  excellent ! 

Builder.  Excellent  ?  It's  damnable.  Here  am  I— 
a  man  who's  always  tried  to  do  his  duty  in  private  life 
and  public — ^brought  up  before  the  Bench — my  God! 
because  I  was  doing  that  duty;  with  a  little  too  much 
zeal,  perhaps — ^I'm  not  an  angel ! 

Journalist.  No  !    No !  of  course. 

Builder.  A  proper  Englishman  never  is.  But  there 
are  no  proper  Englishmen  nowadays. 

[He  crosses  the  room  in  his  fervour. 

Ralph.  [Suddenly]  As  I  look  at  faces 

Builder.  [Absorbed]  What!  I  told  this  young  man 
I  wasn't  an  angel. 


98  A  FAMILY  MAN  Acrra 

JoUHNALisT.  [Dravxing  him  on]  Yes,  sir;  I  quite 
understand. 

BuiLDEE.  If  the  law  thinks  it  can  force  me  to  be 
one  of  your  weak-kneed  sentimentalists  who  let  every- 
body do  what  they  like 

Ralph.  There  are  a  good  many  who  stand  on  their 
rights  left,  John. 

Builder.  [Absorbed]  What!  How  can  men  stand 
on  their  rights  left? 

Journalist.  I'm  afraid  you  had  a  painful  experi- 
ence, sir. 

Builder.  Every  kind  of  himailiation.  I  spent  the 
night  in  a  stinking  cell.  I  haven't  eaten  since  break- 
fast yesterday.  Did  they  think  I  was  going  to  eat  the 
muck  they  shoved  in?  And  all  because  in  a  moment 
of  anger — which  I  regret,  I  regret! — ^I  happened  to 
strike  my  daughter,  who  was  interfering  between  me 
and  my  wife.  The  thing  would  be  funny  if  it  weren't 
so  disgusting.  A  man's  house  used  to  be  sanctuary. 
^Miat  is  it  now?  With  all  the  world  poking  their 
noses  in? 

He  stands  before  the  fire  with  his  head  bent, 
excluding  as  it  were  his  interviewer  and  all 
the  world. 

Journalist.  [Preparing  to  go]  Thank  you  very 
much,  Mr.  Builder.  I'm  sure  I  can  do  you  justice. 
Would  you  like  to  see  a  proof? 

Builder.  [Half  conscious  of  him]  What  ? 

Journalist.  Or  will  you  trust  me  ? 

Builder.  I  wouldn't  trust  you  a  yard. 


Bc.n  A  FAMILY  MAN  99 

Journalist,  [At  the  door]  Very  well,  sir;  you  shall 
have  a  proof,  I  promise.    Good  afternoon,  and  thank 
you. 
BmiiDER.  Here! 

But  he  is  gone,  and  Builder  is  left  staring  at 
his  brother,  on  whose  face  is  still  that  look 
of  whimsical  commiseration. 
Ralph.  Take  a  pull,  old  man!    Have  a  hot  bath 
and  go  to  bed. 

Builder.  They've  chosen  to  drive  me  to  extremes, 
now  let  them  take  the  consequences.  I  don't  care 
a  kick  what  anybody  thinks. 

Ralph.  [Sadly]  Well,  I  won't  worry  you  any  more, 
now. 

Builder.  [With  a  nasty  laugh]  No;  come  again 
to-morrow ! 

Ralph.  When  you've  had  a  sleep.  For  the  sake 
of  the  family  name,  John,  don't  be  hasty. 

Builder.  Shut  the  stable  door?    No,  my  boy,  the 
horse  has  gone. 
Ralph.  Well,  well ! 

With  a  lingering  look  at  his  brother,  who  has 
sat  down  sullenly  at  the  tcriting-table,  he 
goes  out  into  the  hall. 
Builder  remains  staring  in  front  of  him. 
The  dining-room  door  opens,  and  Camille's 
head  is  thrust  in.  Seeing  him,  she  dratvs 
back,  but  he  catches  sigfU  of  her. 
Builder.  Here! 

Camillb  coTnes  doubtfully  up  to  the  tmlin§~ 


100  A  FAMILY  MAN  act  in 

table.    Her  forehead  is  'puckered  as  ij  she 
were  thinking  hard. 
Builder.  {Looking  at  her,  unsmiling]  So  you  want 
to  be  my  mistress,  do  you  ? 

[Camill£  makes  a  nervous  gesture. 
Well,  you  shall.    Come  here. 
CamilLiE.  [Not  moving]  You  f-frighten  me. 
Builder.  I've  paid  a  pretty  price  for  you.    But 
you'll  make  up  for  it;  you  and  others. 

Camille.  [Starting    back]  No;    I    don't    like    you 
to-day !    No ! 

Builder.  Come   along!  [She   is  just   iviihin   reach 
and  he  seizes  her  arm]  All  my  married  life  I've  put 
a  curb  on  myself  for  the  sake  of  respectability.    I've 
been  a  man  of  principle,  my  girl,  as  you  saw  yesterday. 
Well,  they  don't  want  that !  [He  draws  her  close]  You 
can  sit  on  my  knee  now. 
Camille,  [Shrinking]  No;  I  don't  want  to,  to-day. 
Builder.  But  you  shall.    They've  asked  for  it ! 
Camille.  [With  a  supple  movement  slipping  away 
from  him]  They?    What  is  all  that?    I  don't  want 
any  trouble.    No,  no;  I  am  not  taking  any. 

She  mooes  hack  towards  the  door.    Builder 
utters  a  sardonic  laugh. 
Oh!  you  are  a  dangerous  man!    No,  no!    Not  for 
me!    Good-bye,  sare! 

[She  turns  svyiftly  and  goes  out. 

Builder  again  utters  his  glum  laugh.    And 

then,  as  he  sits  alone  staring  before  him, 

■  ■«-  perfect   sHence    reigns   in   the   room.    Over 


•c.n  A  FAMILY  MAN  101 

the  vnndow-aill  behind  him  a  Boy's  face  is 
seen  to  rise;  it  hangs  there  a  moment  with 
a  grin  spreading  on  it. 
Boy's  Voice.  [Sotto]  Johnny  Builder ! 

[As  Builder  turns  sharply,  it  vanishes. 
'Oo  beat  'is  wife  ? 

[Builder  nishes  to  the  window. 
Boy's  Voice.  [More  distant  and  a  little  tentative] 
Johnny  Builder ! 

Builder.  You   little  devil!    If  I  catch  you,   I'll 
wring  your  blasted  little  neck ! 

Boy's    Voice.  [A    little    distant]  'Oo    blacked    the 
copper's  eye  ? 

Builder,  in  an  ungovernable  passion,  seizes 
a  small  flower-pot  from  the  sill  and  flings 
it  with  all  his  force.     The  sound  of  a  crash. 
Boy's  Voice.  [Very  distant]  Ya-a-ah !    Missed ! 

Builder  stands  leaning  out,  face  injected  with 
blood,  shaking  his  fist. 

The  CxmiAiN  falls  for  a  few  seconds. 


SCENE  in 

Evening  the  same  day. 

Builder's   study    is   dim    and   neglected-looking ;    the 

window  is  still  open,  though  it  has  become  night. 

A  street  lamp  outside  shines  in,  and  the  end  of  its 


102  A  FAMILY  MAN  act  in 

rays  fall  on  Builder  asleep.  He  is  sitting  in  a 
high  chair  at  the  fireside  end  of  the  wriiing4ahle, 
with  his  elbows  on  it,  and  his  cheek  resting  on  his 
hand.  He  is  still  unshaven,  and  his  clothes  un- 
changed. A  Boy's  head  appears  above  the  level 
of  the  window-sill,  as  if  beheaded  and  fastened 
there. 

Boy's  Voice.  [In  a  forceful  whisper]  Johnny  Builder ! 
Builder    stirs    uneasily.     The    Boy's    head 
vanishes.    Builder,  raising  his  other  hand, 
makes  a  sweep   before   his  face,   as   if  to 
brush  away  a  mosquito.    He  wakes.     Takes 
in  remembrance,  and  sits  a  moment  staring 
gloomily  before  him.     The  door  from  the  hall 
is  opened  and  Topping  comes  in  with  a  long 
envelope  in  his  hand. 
Topping.  [Approaching]  From    the    "Comet,"    sir. 
Proof  of  your  interview,  sir;  will  you  please  revise, 
the  messenger  says;  he  wants  to  take  it  back  at  once. 
Builder.  [Taking  it]  All  right.    I'll  ring. 
Topping.  Shall  I  close  in,  sir? 
Builder.  Not  now. 

[Topping  withdraxos. 
Builder  turns  up  a  standard  lamp  on  the 
table,  opens  the  envelope,  and  begins  read- 
ing the  galley  slip.     The  signs  of  uneasiness 
and  discomfort  grow  on  him. 
Builder.  Did  I  say  that.?    Muck!    Muck!    [He 
drops  the  proof,  sits  a  moment  moving  his  head  and 
rubbing  one  hand  uneasily  on  the  surface  of  th*  table. 


sc.ni  A  FAMILY  MAN  108 

then  rectches  out  for  the  telephone  receiver]  Town,  245. 
[Pause]  The  "Comet"?  John  Builder.  Give  me  the 
Editor.  [Pause]  That  you,  Mr.  Editor?  John  Builder 
speaking.  That  interview.  I've  got  the  proof.  It 
won't  do.  Scrap  the  whole  thing,  please.  I  don't 
want  to  say  anything.  [Pause]  Yes.  I  know  I  said 
it  all;  I  can't  help  that.  [Pause]  No;  I've  changed  my 
mind.  Scrap  it,  please.  [Pause]  No,  I  will  not  say 
anything.  [Pau^e]  You  can  say  what  you  dam'  well 
please.  [Pause]  I  mean  it;  if  j'ou  pu'^a  word  into  my 
mouth,  I'll  sue  you  for  defamation  of  character.  It's 
undignified  muck.  I'm  tearing  it  up.  Good-night. 
[He  replaces  the  receiver,  and  touches  a  bell;  then,  taking 
up  the  gaUey  slip,  he  tears  it  viciously  across  inio  many 
pieces,  and  rams  them  inio  the  envelope. 

[Topping  enters. 
Here,  give  this  to  the  messenger — sharp,  and  tell  him 
to  run  with  it. 

Topping.  [Whose  hand  can  feel  the  condition  of  the 
contents,  with  a  certain  surprise]  Yes,  sir. 

[He  goes,  with  a  look  hack  from  the  door. 
The  Mayor  is  here,  sir.    I  don't  know  whether  you 

would  wish 

Builder,  rising,  takes  a  turn  up  and  down 
the  room. 
Builder.  Nor  do  I.    Yes !    I'll  see  him. 

Topping  goes  out,  and  Builder  stands  over 
by  the  fender,  with  his  head  a  little  dovm. 
Topping.  [Re-entering]  The  Mayor,  sir. 

[He  retires  up  Left. 
The  Mayor  i3  overcoated,  and  carries,  of  all 


104  A  FAMILY  MAN  Acrm 

things,  a  top  hat.    He  reaches  the  centre  of 
the  room  before  he  speaks. 

Mayor.  [Embarrassed]  Well,  Builder? 

Builder.  Well? 

Mayor.  Come !  That  caution  of  mine  was  quite 
parliamentary.    I  'ad  to  save  face,  you  know. 

Builder.  And  what  about  my  face.'' 

Mayor.  Well,  you — you  made  it  difficult  for  me. 
'Ang  it  all !    Put  yourself  into  my  place ! 

Builder.  [Cfrimly]  I'd  rather  put  you  into  mine, 
as  it  was  last  night. 

Mayor.  Yes,  yes!  I  know;  but  the  Bench  has 
got  a  name  to  keep  up — ^must  stand  well  in  the  p>eople's 
eyes.  As  it  is,  I  sailed  very  near  the  wind.  Suppose 
we  had  an  ordinary  person  up  before  us  for  striking  a 
woman  ? 

Builder.  I  didn't  strike  a  woman — ^I  struck  my 
daughter. 

Mayor.  Well,  but  she's  not  a  child,  you  know. 
And  you  did  resist  the  police,  if  no  worse.  Come ! 
You'd  have  been  the  first  to  maintain  British  justice. 
Shake  'ands ! 

Builder.  Is  that  what  you  came  for? 

M^.YOR.  [Taken  back]  Why — ^yes;  nobody  can  be 
more  sorry  than  I 

Builder.  Eye-wash !  You  came  to  beg  me  to 
resign. 

Mayor.  Well,  it's  precious  awkward.  Builder.  We 
all  feel 

Builder.  Save   your   powder.   Mayor.    I've   slept 


sc.ra  A  FAMILY  IVIAN  105 

on  it  since  I  wrote  you  that  note.     Take  my  resig- 
nations. 

Mayoh.  [In    relieved    emharrassment]  That's    right. 
We  must  face  your  position. 

Builder.  [WUh  a  touch  of  grim  humour]  I  never  yet 
met  a  man  who  couldn't  face  another  man's  position. 
Mayor.  After  all,  what  is  it? 

Builder.  Splendid  isolation.  No  wife,  no  daugh- 
ters, no  Councillorship,  no  Magistracy,  no  future — 
[With  a  lau^h]  not  even  a  French  maid.  And  w^hy.? 
Because  I  tried  to  exercise  a  little  wholesome  family 
authority.  That's  the  position  you're  facing.  Mayor. 
Mayor.  Dear,  dear!  You're  devilish  bitter.  Builder. 
It's  unfortunate,  this  publicity.  But  it'll  all  blow 
over;  and  you'll  be  back  where  you  were.  You've  a 
good  sound  practical  sense  underneath  your  temper. 
[A  pau^e]  Come,  now !  [A  pav^e]  Well,  I'll  say  good- 
night, then. 

Builder.  You  shall  have  them  in  writing  to-morrow. 
Mayor.  [With  sincerity]  Come!    Shake  'ands. 

Builder,  after  a  long  look,  holds  out  his  hand. 
The  two  men  exchange  a  grip.     The  Mayor, 
turning  abruptly,  goes  out. 
Builder   remains   motionless  for   a   minute, 
then  resumes  his  seat  at  the  side  of  the  writing- 
table,  leaning  his  head  on  his  hands. 
The  Boy's  fiead  is  again  seen  rising  above  the 
level  of  the  window-siU,   and  another  and 
another  follows,  till  the  three,  as  if  decapi- 
tated, heads  are  seen  in  a  row. 
Boys*   Voices.  [One  after  another  in  a  whispered 


106  A  FAMILY  MAN  actui 

crescendo]  Johnny  Builder !    Johnny  Builder !    Johnny 
Builder ! 

Builder  rises,  turns  and  stares  at  them.  The 
Three  Heads  disappear,  and  a  Boy's 
voice  cries  shrilly:  "Johnny  Builder  I" 
Builder  moves  towards  the  window;  voices 
are  now  crying  in  various  pitches  and  keys: 
"Johnny  Builder  I"  "  Beatey  Builder  l" 
"Beat  'is  vnfe-er!"  "Beatey  Builder  I" 
Builder  stands  quite  motionless,  staring, 
with  the  street  lamp  lighting  up  a  queer, 
rather  pitiful  defiance  on  his  face.  The 
voices  swell.  There  comes  a  sudden  swish 
and  splash  of  water,  and  broken  yells  of  dis- 
may. 
Topping's  Voice.  Scat !  you  young  devils ! 

The  sound  of  scuffling  feet  and  a  long-drawn- 
out  and  discard  "Miaou I" 
Builder  stirs,  shuts  the  window,  draws  the 
curtains,   goes   to   the   armchair   h^ore   the 
fireplace  and  sits  down  in  it. 
Topping  enters  with  a  little  tray  on  which  is 
a  steaming  jug  of  fluid,  some  biscuits  and 
a  glass.    He  comes  stealthily  up  level  with 
the  chair.    Builder  stirs  and  looks  up  at 
him. 
Topping.  Excuse  me,  sir,  you  must  *ave  digested 
yesterday    morning's    breakfast   by    now — must   live 
to  eat,  sir. 
Builder.  All  right.    Put  it  down. 
Topping.  [Putting  the  tray  down  on  the  table  and 


sc.  in  A  FAMILY  MAN  107 

taking  up  Buildek's  pipe]  I  fair  copped  those  young 
devils. 

BuiLDEB.  You're  a  good  fellow. 

Topping.  [Filling  the  pipe]  You'll  excuse  me,  sir; 

the  Missis — has  come  back,  sir 

Builder  stares  at  him  and  Topping  stops. 
He  hands  Builder  the  filled  pipe  and  a 
box  of  matches. 
Builder.  [With  a  shiver]  Light  the  fire.  Topping. 
I'm  chilly. 

While  Topping  lights  the  fire  Builder  puis 
the  pipe  in  his  mouth  and  applies  a  match 
to  it.  Topping,  having  lighted  the  fire^ 
turns  to  go,  gets  as  far  as  half  way,  then 
comes  hack  level  with  the  table  and  regards 
the  silent  brooding  figure  in  the  chair. 
Builder.  [Suddenly]  Give  me  that  paper  on  the 
table.     No;  the  other  one — the  Will. 

Topping  takes  up  the  WiU  and  gives  it  to  him. 
Topping.  [With    much    hesitation]  Excuse    me,    sir. 
It's   pluck   that   get's   'em    'ome,   sir — begging  your 
pardon. 

Builder  has  resumed  his  attitude  and  does 
not  answer. 
[In  a  voice  just  touched  with  feeling]  Good-night,  sir. 
Builder.  [Without  turning  his  head]  Good-night. 

[Topping  has  gone. 

Builder  sits  drawing  at  his  pipe  between  the 

firelight    and   the    light  from    the   standard 

lamp.    He  takes  the  pipe  out  of  his  mouth 

and  a  quiver  passes  aver  his  face.     With 


108  A  FAMILY  MAN  acthi 

a  kalf  angry  gesture  he  rubs  the  back  of  his 
hand  across  his  eyes. 
Builder.  [To  himself]  Pluck!  Pluck!  [His  lips 
quiver  again.  He  presses  them  hard  together,  puis 
his  pipe  back  into  his  mouth,  and,  taking  the  Will, 
thrusts  it  into  the  newly-lighted  fire  and  holds  it  there 
with  a  poker]. 

While  he  is  doing  this  the  door  from  Hie  hall 
is  opened  quietly,  and  Mrs.  Builder  enters 
vnthout  his  hearing  her.  She  has  a  work- 
bag  in  her  hand.  She  Tnoves  slowly  to  the 
table,  and  stands  looking  at  him.  Then  going 
up  to  the  curtains  she  mechanically  adjusts 
them,  and  still  keeping  her  eyes  on  Builder, 
comes  down  to  the  table  and  pours  out  his 
usvM  glass  of  whisky  toddy.  Builder, 
who  has  become  conscious  of  her  presence, 
turns  in  his  chair  as  she  hands  it  to  him. 
He  sits  a  mornent  motionless,  then  takes  it 
from  her,  and  sqiieezes  her  hand.  Mrs. 
Builder  goes  silently  to  her  usual  clmir 
below  the  fire,  and  taking  out  some  knitting 
begins  to  knit.  Builder  makes  an  effort 
.  to  speak,  does  not  succeed,  and  sits  drawing 
at  his  pipe. 

The  CxjRTAiN  falls. 


UNIVERSITY  OF  GAIJFORNIA  LIBRARY,  LOS  ANGELES 

COLLEGE  LIBRARY 

This  book  is  due  on  the  last  date  stamped  below. 


Mar  26  62 


Book  SUp-25m-9,'60(;B2O36B4)4280 


PANNY  BUTCHER  A  BOOKS 


1 


UCLA-college  Ubrary 

PR6013G131a 


